In the ’80s, the spy agency investigated the "Gateway Experience" technique to alter consciousness and ultimately escape spacetime.
The intrigue revolves around a classified 1983 CIA report on a technique called the Gateway Experience, which is a training system designed to focus brainwave output to alter consciousness and ultimately escape the restrictions of time and space.
The CIA was interested in all sorts of psychic research at the time, including the theory of applications of remote viewing, which is when someone views real events with only the power of their mind. The documents have since been declassified and are available to view.
This is a comprehensive excavation of The Gateway Process report. The first section provides a timeline of the key historical developments that led to the CIA’s investigation and subsequent experimentations. The second section is a review of The Gateway Process report. It opens with a wall of theoretical context, on the other side of which lies enough understanding to begin to grasp the principles underlying the Gateway Experience training. The last section outlines the Gateway technique itself and the steps that go into achieving spacetime transcendence.
Let’s go.
THE TIMELINE
• 1950s - Robert Monroe, a radio broadcasting executive, begins producing evidence that specific sound patterns have identifiable effects on human capabilities. These include alertness, sleepiness, and expanded states of consciousness.
• 1956 - Monroe forms an R&D division inside his radio program production corporation RAM Enterprises. The goal is to study sound’s effect on human consciousness. He was obsessed with “Sleep-Learning," or hypnopedia, which exposes sleepers to sound recordings to boost memory of previously learned information.
• 1958 - While experimenting with Sleep-Learning, Monroe discovers an unusual phenomenon. He describes it as sensations of paralysis and vibration accompanied by bright light. It allegedly happens nine times over the proceeding six weeks, and culminates in an out-of-body experience (OBE).
• 1962 - RAM Enterprises moves to Virginia, and renames itself Monroe Industries. It becomes active in radio station ownership, cable television, and later in the production and sale of audio cassettes. These cassettes contain applied learnings from the corporate research program, which is renamed The Monroe Institute.
• 1971 - Monroe publishes Journeys Out of the Body, a book that is credited with popularizing the term “out-of-body experience.”
• 1972 - A classified report circulates in the U.S. military and intelligence communities. It claims that the Soviet Union is pouring money into research involving ESP and psychokinesis for espionage purposes.
• 1975 - Monroe registers the first of several patents concerning audio techniques designed to stimulate brain functions until the left and right hemispheres become synchronized. Monroe dubs the state "Hemi-Sync" (hemispheric synchronization), and claims it could be used to promote mental well-being or to trigger an altered state of consciousness.
• 1978 to 1984 - Army veteran Joseph McMoneagle contributes to 450 remote viewing missions under Project Stargate. He is known as “Remote View No. 1”.
• June 9th, 1983 - The CIA report "Analysis and Assessment of The Gateway Process" is produced. It provides a scientific framework for understanding and expanding human consciousness, out-of-body experiments, and other altered states of mind.
• 1989 - Remote viewer Angela Dellafiora Ford helps track down a former customs agent who has gone on the run. She pinpoints his location as “Lowell, Wyoming”. U.S. Customs apprehend him 100 miles west of a Wyoming town called Lovell.
• 2003 - The CIA approves declassification of the Gateway Process report.
• 2017 - The CIA declassifies 12 million pages of records revealing previously unknown details about the program, which would eventually become known as Project Stargate.
THE REPORT
Personnel
The author of The Gateway Process report is Lieutenant Colonel Wayne M. McDonnell, hereon referred to simply as Wayne. There isn’t a tremendous amount of information available on the man, nor any photographs. In 1983, Wayne was tasked by the Commander of the U.S. Army Operational Group with figuring out how The Gateway Experience, astral projection and out-of-body experiences work. Wayne partnered with a bunch of different folks to produce the report, most notably Itzhak Bentov, a very Googleable American-Israeli scientist who helped pioneer the biomedical engineering industry.
A scientific approach
From the outset of the report, Wayne states his intent to employ an objective scientific method in order to understand the Gateway process. The various scientific avenues he takes include:
• A biomedical inquiry to understand the physical aspects of the process.
• Information on quantum mechanics to describe the nature and functioning of human consciousness.
• Theoretical physics to explain the time-space dimension and means by which expanded human consciousness transcends it.
• Classical physics to bring the whole phenomenon of out-of-body states into the language of physical science (and remove the stigma of an occult connotation).
Methodological frames of reference
Before diving into the Gateway Experience, Wayne develops a frame of reference by dissecting three discrete consciousness-altering methodologies. He’s basically saying, there’s no way you’re going to get through The Gateway without a solid grounding in the brain-altering techniques that came before it.
1) He begins with hypnosis. The language is extremely dense, but the basic gist is as follows: the left side of the brain screens incoming stimuli, categorizing, assessing and assigning meaning to everything through self-cognitive, verbal, and linear reasoning. The left hemisphere then dishes the carefully prepared data to the non-critical, holistic, pattern-oriented right hemisphere, which accepts everything without question. Hypnosis works by putting the left side to sleep, or at least distracting it long enough to allow incoming data direct, unchallenged entry to the right hemisphere. There, stimuli can reach the sensor and motor cortices of the right brain, which corresponds to points in the body. Suggestions then can send electrical signals from the brain to certain parts of the body. Directing these signals appropriately, according to the report, can elicit reactions ranging from left leg numbness to feelings of happiness. Same goes for increased powers of concentration.
2) Wayne continues with a snapshot of transcendental meditation. He distinguishes it from hypnotism. Through concentration the subject draws energy up the spinal cord, resulting in acoustical waves that run through the cerebral ventricles, to the right hemisphere, where they stimulate the cerebral cortex, run along the homunculus and then to the body. The waves are the altered rhythm of heart sounds, which create sympathetic vibrations in the walls of the fluid-filled cavities of the brain’s ventricles. He observed that the symptoms begin in the left side of the body, confirming the right brain’s complicity. Bentov also states that the same effect might be achieved by prolonged exposure to 4 - 7 Hertz/second acoustical vibrations. He suggests standing by an air conditioning duct might also do the trick. (David’s Lynch and other celebrities are committed adherents to transcendental meditation today.)
3) Biofeedback, on the other hand, uses the left hemisphere to gain access to the right brain’s lower cerebral, motor, and sensory cortices. Whereas hypnosis suppresses one side of the brain, and TM bypasses that side altogether, biofeedback teaches the left hemisphere to visualize the desired result, recognize the feelings associated with right hemisphere access, and ultimately achieve the result again. With repetition, the left brain can reliably key into the right brain, and strengthen the pathways so that it can be accessed during a conscious demand mode. A digital thermometer is subsequently placed on a target part of the body. When its temperature increases, objective affirmation is recognized and the state is reinforced. Achieving biofeedback can block pain, enhance feeling, and even suppress tumors, according to the report.
The Gateway mechanics
With that, Wayne takes a first stab at the Gateway process. He classifies it as a “training system designed to bring enhanced strength, focus and coherence to the amplitude and frequency of brainwave output between the left and right hemispheres so as to alter consciousness.”
What distinguishes the Gateway process from hypnosis, TM, and biofeedback, is that it requires achieving a state of consciousness in which the electrical brain patterns of both hemispheres are equal in amplitude and frequency. This is called Hemi-Sync. Lamentably, and perhaps conveniently, we cannot as humans achieve this state on our own. The audio techniques developed by Bob Monroe and his Institute (which are comprised as a series of tapes). claim to induce and sustain Hemi-Sync.
Wayne employs the analogy of a lamp versus a laser. Left to its own devices the human mind expends energy like a lamp, in a chaotic and incoherent way, achieving lots of diffusion but relatively little depth. Under Hemi-Sync though, the mind produces a “disciplined stream of light.” So, once the frequency and amplitude of the brain are rendered coherent it can then synchronize with the rarified energy levels of the universe. With this connection intact, the brain begins to receive symbols and display astonishing flashes of holistic intuition.
The Hemi-Sync technique takes advantage of a Frequency Following Response (FFR). It works like this: an external frequency emulating a recognized one will cause the brain to mimic it. So if a subject hears a frequency at the Theta level, it will shift from its resting Beta level. To achieve these unnatural levels, Hemi-Sync puts a single frequency in the left ear and a contrasting frequency in the right. The brain then experiences the Delta frequency, also known as the beat frequency. It’s more familiarly referred to these days as binaural beats. With the FFR and beat frequency phenomena firmly in place, The Gateway Process introduces a series of frequencies at marginally audible, subliminal levels. With the left brain relaxed and the body in a virtual sleep state, the conditions are ideal to promote brainwave outputs of higher and higher amplitude and frequency. Alongside subliminal suggestions from Bob Monroe (naturally), the subject can then alter their consciousness.
The Gateway system only works when the audio, which is introduced through headphones, is accompanied by a physical quietude comparable to other forms of meditation. This increases the subject’s internal resonance to the body’s sound frequencies, for example the heart. This eliminates the “bifurcation echo”, in which the heartbeat moves up and down the body seven times a second. By placing the body in a sleep-like state, The Gateway CD’s, like meditation, lessen the force and frequency of the heartbeat pushing blood into the aorta. The result is a rhythmic sine wave that in turn amplifies the sound volume of the heart three times. This then amplifies the frequency of brainwave output. The film surrounding the brain—the dura—and fluid between that film and the skull, eventually begin to move up and down, by .0005 and .010 millimeters.
The body, based on its own micro-motions, then functions as a tuned vibrational system. The report claims that the entire body eventually transfers energy at between 6.8 and 7.5 Hertz, which matches Earth’s own energy (7 - 7.5 Hertz). The resulting wavelengths are long, about 40,000 kilometers, which also happens to be the perimeter of the planet. According to Bentov, the signal can move around the world’s electrostatic field in 1/7th of a second.
To recap, the Gateway Process goes like this:
• Induced state of calm
• Blood pressure lowers
• Circulatory system, skeleton and other organ systems begin to vibrate at 7 - 7.5 cycles per second
• Increased resonance is achieved
• The resulting sound waves matches the electrostatic field of the earth
• The body and earth and other similarly tuned minds become a single energy continuum.
We’ve gotten slightly ahead of ourselves here though. Back to the drawing board.
A psycho-quantum level deeper
Wayne then turns to the very nature of matter and energy. More materially (or less if you will), solid matter in the strict construction of the term, he explains, doesn’t exist. The atomic structure is composed of oscillating energy grids surrounded by other oscillating energy grids at tremendous speeds. These oscillation rates vary—the nucleus of an atom vibrates at 10 to the power of 22, a molecule vibrates at 10 to the power of 9, a human cell vibrates at 10 to the power of 3. The point is that the entire universe is one complex system of energy fields. States of matter in this conception then are merely variations in the state of energy.
The result of all these moving energies, bouncing off of energy at rest, projects a 3D mode, a pattern, called a hologram, A.K.A our reality as we experience it. It's best to think of it as a 3D photograph. There’s a whole rabbit hole to go down here. Suffice it to say, the hologram that is our experience is incredibly good at depicting and recording all the various energies bouncing around creating matter. So good, in fact, that we buy into it hook, line, and sinker, going so far as to call it our "life."
Consciousness then can be envisaged as a 3D grid system superimposed over all energy patterns, Wayne writes. Using mathematics, each plane of the grid system can then reduce the data to a 2D form. Our binary (go/no go) minds can then process the data and compare it to other historical data saved in our memory. Our reality is then formed by comparisons. The right hemisphere of the brain acts as the primary matrix or receptor for this holographic input. The left hemisphere then compares it to other data, reducing it to its 2D form.
In keeping with our species' commitment to exceptionalism, as far as we know humans are uniquely capable of achieving this level of consciousness. Simply, humans not only know, but we know that we know. This bestows upon us the ability to duplicate aspects of our own hologram, project them out, perceive that projection, run it through a comparison with our own memory of the hologram, measure the differences using 3D geometry, then run it through our binary system to yield verbal cognition of the self.
The click-out phase
Wayne then shows his cards as a true punisher, issuing, "Up to this point our discussion of the Gateway process has been relatively simple and easy to follow. Now the fun begins." Shots fired, Wayne. What he's preparing the commander reading this heady report for is the reveal—how we can use the Gateway to transcend the dimension of spacetime.
Time is a measurement of energy or force in motion; it is a measurement of change. This is really important. For energy to be classified as in motion, it must be confined within a vibratory pattern that can contain its motion, keeping it still. Energy not contained like this is boundary-less, and moves without limit or dimension, to infinity. This disqualifies boundary-less energy from the dimension of time because it has no rate of change. Energy in infinity, also called "the absolute state," is completely at rest because nothing is accelerating or decelerating it—again, no change. It therefore does not contribute to our hologram, our physical experience. We cannot perceive it.
Now back to frequencies. Wave oscillation occurs because a wave is bouncing between two rigid points of rest. It's like a game of electromagnetic hot potato (the potato being the wave and the participants' hands being the boundaries of the wave). Without these limits, there would be no oscillation. When a wave hits one of those points of rest, just for a very brief instant, it "clicks out" of spacetime and joins infinity. For this to occur, the speed of the oscillation has to drop below 10 the power of -33 centimeters per second. For a moment, the wave enters into a new world. The potato simply disappears into a dimension we cannot perceive.
Theoretically speaking, if the human consciousness wave pattern reaches a high enough frequency, the “click-outs” can reach continuity. Put another way, if the frequency of human consciousness can dip below 10 to the power of 33 centimeters per second but above a state of total rest, it can transcend spacetime. The Gateway experience and associated Hemi-Sync technique is designed for humans to achieve this state and establish a coherent pattern of perception in the newly realized dimensions.
Passport to the hologram
In theory, we can achieve the above at any time. The entire process though is helped along if we can separate the consciousness from our body. It’s like an existential running head start where the click-out of a consciousness already separated from its body starts much closer to, and has more time to dialogue with, other dimensions.
This is where things get a little slippery; hold on as best you can. The universe is in on the whole hologram thing, too, Wayne writes. This super hologram is called a "torus" because it takes the shape of a fuck-off massive self-contained spiral. Like this:
Give yourself a moment to let the above motion sink in...
This pattern of the universe conspicuously mirrors the patterns of electrons around the nucleus of an atom. Galaxies north of our own are moving away from us faster than the galaxies to the south; galaxies to the east and west of us are more distant. The energy that produced the matter that makes up the universe we presently enjoy, will turn back in on itself eventually. Its trajectory is ovoid, also known as the cosmic egg. As it curls back on itself it enters a black hole, goes through a densely packed energy nucleus then gets spat out the other side of a white hole and begins the process again. Springtime in the cosmos, baby!
And that is the context in which the Gateway Experience sits.
[Deep breaths.]
THE TECHNIQUE
The following is an outline of the key steps to reach focus levels necessary to defy the spacetime dimension. This is an involved and lengthy process best attempted in controlled settings. If you’re in a rush, you can apparently listen to enough Monroe Institute Gateway Tapes in 7 days to get there.
The Energy Conversion Box: The Gateway Process begins by teaching the subject to isolate any extraneous concerns using a visualization process called “the energy conversion box.”
Resonant Humming: The individual is introduced to resonant humming. Through the utterance of a protracted single tone, alongside a chorus on the tapes, the mind and body achieve a state of resonance.
The Gateway Affirmation: The participant is exposed to something close to a mantra called The Gateway Affirmation. They must repeat to themselves variations of, “I am merely a physical body and deeply desire to expand my consciousness.”
Hemi-Sync: The individual is finally exposed to the Hemi-Sync sound frequencies, and encouraged to develop a relationship with the feelings that emerge.
Additional Noise: Physical relaxation techniques are practiced while the Hemi-Sync frequencies are expanded to include “pink and white” noise. This puts the body in a state of virtual sleep, while calming the left hemisphere and raising the attentiveness of the right hemisphere.
The Energy Balloon: The individual is then encouraged to visualize the creation of an “energy balloon” beginning at the top of the head, extending down in all directions to the feet then back up again. There are a few reasons for this, the main one being that this balloon will provide protection against conscious entities possessing lower energy levels that he or she may encounter when in the out-of-body state.
Focus 12: The practitioner can consistently achieve sufficient expanded awareness to begin interacting with dimensions beyond their physical reality. To achieve this state requires conscious efforts and more “pink and white noise” from the sound stream.
Tools: Once Focus 12 is achieved, the subject can then employ a series of tools to obtain feedback from alternate dimensions.
Problem Solving: The individual identifies fundamental problems, fills their expanded awareness with them, and then projects them out into the universe. These can include personal difficulties, as well as technical or practical problems.
Patterning: Consciousness is used to achieve desired objectives in the physical, emotional, or intellectual sphere.
Color Breathing: A healing technique that revitalizes the body’s energy flows by imagining colors in a particularly vivid manner.
Energy Bar Tool: This technique involves imagining a small intensely pulsating dot of light that the participant charges up. He or she then uses the sparkling, vibrating cylinder of energy (formerly known as the dot) to channel forces from the universe to heal and revitalize the body.
Remote Viewing: A follow-on technique of the Energy Bar Tool where the dot is turned into a whirling vortex through which the individual sends their imagination in search of illuminating insights.
Living Body Map: A more organized use of the energy bar in which streams of different colors flow from the dot on to correspondingly-colored bodily systems.
Seven days of training have now occurred. Approximately 5 percent of participants get to this next level, according to the report.
Focus 15 - Travel Into the Past: Additional sound on the Hemi-Sync tapes includes more of the same, plus some subliminal suggestions to further expand the consciousness. The instructions are highly symbolic: time is a huge wheel, in which different spokes give access to the participant’s past.
Focus 21 - The Future: This is the last and most advanced state. Like Focus 15, this is a movement out of spacetime into the future.
Out-of-Body Movement: Only one tape of the many is devoted to out-of-body movement. This tape is devoted to facilitating an out-of-body state when the participant’s brain wave patterns and energy levels reach harmony with the surrounding electromagnetic environment. According to Bob Monroe, the participant has to be exposed to Beta signals of around 2877.3 cycles per second.
CONCLUSIONS
Wayne expresses concern about the fidelity of information brought back from out-of-body states using the Gateway technique. Practical applications are of particular concern because of the potential for “information distortion.”
The Monroe Institute also ran into a bunch of issues in which they had individuals travel from the West to the East Coast of the U.S. to read a series of numbers off of a computer screen. They never got them exactly right. Wayne chalks this up to the trouble of differentiating between physical entities and extra-time-space dimensions when in the out-of-body state.
Wayne swings back to support mode though, lending credence to the physics foundation of the report. He cites multiple belief systems that have established identical findings. These include the Tibetan Shoug, the Hindu heaven of Indra, the Hebrew mystical philosophy, and the Christian concept of the Trinity. Here he seems more interested in hammering home the theoretical underpinnings that make The Gateway Experience possible, rather than the practical possibilities promised by The Gateway Tapes.
Possibly with his CIA top brass audience in mind, Wayne then gives an A-type nod to The Gateway Experience for providing a faster, more efficient, less subservient, energy-saving route to expanded consciousness. This finishes with a series of recommendations to the CIA for how to exploit Gateway’s potential for national defense purposes.
The missing page
One curious feature of The Gateway Report is that it seems to be missing page 25. It’s a real cliffhanger too. The bottom of page 24 reads “And, the eternal thought or concept of self which results from this self-consciousness serves the,” The report picks back up on page 26 and 3 sections later as if Wayne hadn’t just revealed the very secret of existence.
The gap has not gone unnoticed. There's a Change.org petition requesting its release. Multiple Freedom of Information Act requests have demanded the same. In all cases, the CIA has said they never had the page to begin with. Here’s a 2019 response from Mark Lilly, the CIA’s Information and Privacy Coordinator, to one Bailey Stoner regarding these records:
One theory goes that that rascal Wayne M.-fricking-McDonnell left the page out on purpose. The theory contends that it was a litmus test—if anyone truly defies time-space dimensions, they’ll certainly be able to locate page 25.
[Cosmic shrug.]
Writing Credit Vice
​
CIA Declassified Report– The Gateway Experience
Here is a copy of the Missing Page 25
There will be a Gateway Help Post following within the next couple days. Thought you might be interested in a little history in the meantime. Cheers!

In a recent interview on CEO.CA's "Inside The Boardroom," Shane Williams, President, CEO & Director of West Red Lake Gold Mines (Ticker: WRLG.v) , provided valuable insights into the company's recent achievements and future strategies. The interview primarily focused on the company's gold recovery efforts at its Madsen Mill and its aggressive exploration and drilling plans aimed at enhancing resource potential at the Madsen and Rowan Gold Projects.
Williams highlighted West Red Lake Gold Mines (WRLG) as a fast-track developer benefiting from established infrastructure and solid financial backing. When WRLg.v acquired the Madsen Gold Project, the project already had $350 million invested into its infrastructure by previous owners, and came with $270M of associated tax losses. Additionally, WRLG receives financial and strategic support from mining investor and billionaire Frank Giustra, enhancing its operational capabilities and market positioning.
Madsen Mill Cleanup Operation:
A significant achievement discussed in the interview was WRLG's successful cleanup operation at its Madsen Mill. Through meticulous cleaning, previously inaccessible gold reserves within the mill were discovered, surpassing initial recovery estimates. The company anticipates recovering a total of 2,500 ounces of gold from the cleanup program.
2024 Work Program:
Looking ahead, Williams outlined WRLG's ambitious 2024 work program, emphasizing geochemical sampling, regional mapping, and an extensive diamond drilling program at the Rowan property. These initiatives aim to expand resource potential and optimize production capabilities.
Exploration at Madsen:
Williams elaborated on WRLG's exploration endeavors at the Madsen Project, highlighting promising targets such as the North and South Austin zones. These zones, located in proximity to existing infrastructure, hold significant potential to enhance project economics.
Key Drilling Intercepts:
Currently the South Austin zone has an Indicated mineral resource of 474,600 ounces grading 8.7 grams per tonne gold and an inferred resource of 31,800 oz grading 8.7 g/t Au.
Some of WRLG's latest key drilling intercepts from this zone include:
•⁠ ⁠3.1m @ 21.33 g/t Au, including 0.5m @ 32.74 g/t Au
•⁠ ⁠9m @ 6.75 g/t Au, including 0.9m @ 27.91 g/t Au
•⁠ ⁠and 2.55m @ 6.08 g/t Au, including 1m @ 11.08 g/t Au
The interview highlighted WRLG's commitment to maximizing shareholder value through effective resource extraction and aggressive exploration strategies, ill drop the link to the full interview below:
https://www.youtube.com/watch?v=qLemeui0fAA
*Posted on behalf of West Red Lake Gold Mines Ltd.

In a recent interview on CEO.CA's "Inside The Boardroom," Shane Williams, President, CEO & Director of West Red Lake Gold Mines (Ticker: WRLG.v) , provided valuable insights into the company's recent achievements and future strategies. The interview primarily focused on the company's gold recovery efforts at its Madsen Mill and its aggressive exploration and drilling plans aimed at enhancing resource potential at the Madsen and Rowan Gold Projects.
Williams highlighted West Red Lake Gold Mines (WRLG) as a fast-track developer benefiting from established infrastructure and solid financial backing. When WRLg.v acquired the Madsen Gold Project, the project already had $350 million invested into its infrastructure by previous owners, and came with $270M of associated tax losses. Additionally, WRLG receives financial and strategic support from mining investor and billionaire Frank Giustra, enhancing its operational capabilities and market positioning.
Madsen Mill Cleanup Operation:
A significant achievement discussed in the interview was WRLG's successful cleanup operation at its Madsen Mill. Through meticulous cleaning, previously inaccessible gold reserves within the mill were discovered, surpassing initial recovery estimates. The company anticipates recovering a total of 2,500 ounces of gold from the cleanup program.
2024 Work Program:
Looking ahead, Williams outlined WRLG's ambitious 2024 work program, emphasizing geochemical sampling, regional mapping, and an extensive diamond drilling program at the Rowan property. These initiatives aim to expand resource potential and optimize production capabilities.
Exploration at Madsen:
Williams elaborated on WRLG's exploration endeavors at the Madsen Project, highlighting promising targets such as the North and South Austin zones. These zones, located in proximity to existing infrastructure, hold significant potential to enhance project economics.
Key Drilling Intercepts:
Currently the South Austin zone has an Indicated mineral resource of 474,600 ounces grading 8.7 grams per tonne gold and an inferred resource of 31,800 oz grading 8.7 g/t Au.
Some of WRLG's latest key drilling intercepts from this zone include:
•⁠ ⁠3.1m @ 21.33 g/t Au, including 0.5m @ 32.74 g/t Au
•⁠ ⁠9m @ 6.75 g/t Au, including 0.9m @ 27.91 g/t Au
•⁠ ⁠and 2.55m @ 6.08 g/t Au, including 1m @ 11.08 g/t Au
The interview highlighted WRLG's commitment to maximizing shareholder value through effective resource extraction and aggressive exploration strategies, ill drop the link to the full interview below:
https://www.youtube.com/watch?v=qLemeui0fAA
*Posted on behalf of West Red Lake Gold Mines Ltd.

In a recent interview on CEO.CA's "Inside The Boardroom," Shane Williams, President, CEO & Director of West Red Lake Gold Mines (Ticker: WRLG.v) , provided valuable insights into the company's recent achievements and future strategies. The interview primarily focused on the company's gold recovery efforts at its Madsen Mill and its aggressive exploration and drilling plans aimed at enhancing resource potential at the Madsen and Rowan Gold Projects.
Williams highlighted West Red Lake Gold Mines (WRLG) as a fast-track developer benefiting from established infrastructure and solid financial backing. When WRLg.v acquired the Madsen Gold Project, the project already had $350 million invested into its infrastructure by previous owners, and came with $270M of associated tax losses. Additionally, WRLG receives financial and strategic support from mining investor and billionaire Frank Giustra, enhancing its operational capabilities and market positioning.
Madsen Mill Cleanup Operation:
A significant achievement discussed in the interview was WRLG's successful cleanup operation at its Madsen Mill. Through meticulous cleaning, previously inaccessible gold reserves within the mill were discovered, surpassing initial recovery estimates. The company anticipates recovering a total of 2,500 ounces of gold from the cleanup program.
2024 Work Program:
Looking ahead, Williams outlined WRLG's ambitious 2024 work program, emphasizing geochemical sampling, regional mapping, and an extensive diamond drilling program at the Rowan property. These initiatives aim to expand resource potential and optimize production capabilities.
Exploration at Madsen:
Williams elaborated on WRLG's exploration endeavors at the Madsen Project, highlighting promising targets such as the North and South Austin zones. These zones, located in proximity to existing infrastructure, hold significant potential to enhance project economics.
Key Drilling Intercepts:
Currently the South Austin zone has an Indicated mineral resource of 474,600 ounces grading 8.7 grams per tonne gold and an inferred resource of 31,800 oz grading 8.7 g/t Au.
Some of WRLG's latest key drilling intercepts from this zone include:
•⁠ ⁠3.1m @ 21.33 g/t Au, including 0.5m @ 32.74 g/t Au
•⁠ ⁠9m @ 6.75 g/t Au, including 0.9m @ 27.91 g/t Au
•⁠ ⁠and 2.55m @ 6.08 g/t Au, including 1m @ 11.08 g/t Au
The interview highlighted WRLG's commitment to maximizing shareholder value through effective resource extraction and aggressive exploration strategies, ill drop the link to the full interview below:
https://www.youtube.com/watch?v=qLemeui0fAA
*Posted on behalf of West Red Lake Gold Mines Ltd.

0. High level summary

I propose that fault lines may play a significant and under documented role in what is happening with UFOs and specifically the impact of fault lines on some number of UFO related crashes. I suspect energetic effects from fault lines and gravity effects from mass variances in fault lines (especially while active) impact UFO/NHI navigational systems. They may do things like routing around, or via, fault lines.

1. A new leaker: Dijkstra's algorithm and Diablo Canyon.

On May 13th, 2024, a claimed leaker on UFO/NHI related programs posted on /Aliens with details on their history with the "Program".

• Link.
• Archive link.

It's a huge volume of data but one very particular passage instantly stuck out to me:

"The craft use a system that originally befuddled generations of researchers, but it's essentially a 3D dijkstra algorithm. It finds points around the craft, and chooses the most efficient possible route through space time to get to that point. Some of the parameters it uses to gauge efficiency are totally unknown to us and are a serious point of contention. It's not autonomy, but rather obstacle avoidance not unlike what you would see in a self-driving car. But, the self driving car could go through air, space and water without worrying about what medium its in. Additionally, the algo accounts for the crafts place in time."

And then this surprising sentence shortly after:

"Although the algo is extremely effective, Nuclear explosions and experiments somehow interfere with this navigation. Craft particularly avoid Diablo Canyon, even if we put something they really want there."

So, this Dijkstra's algorithm and Diablo Canyon.
I can find not one single prior reference to this anywhere, ever, in all of Ufology prior to that Reddit post.
I think this is entirely new, or new to the Internet for UFO topics.

• https://en.wikipedia.org/wiki/Dijkstra%27s_algorithm

In a 3D version of Dijkstra's algorithm, the algorithm extends from two-dimensional plane navigation to three-dimensional environments, making it suitable for applications such as drone flight paths, underwater vehicle navigation, or spacecraft trajectory planning. The algorithm begins at a starting node, exploring all neighboring nodes and continuously updating the shortest known distances from the start to each node, considering all possible paths. By repeating this process until the destination node is reached, the algorithm ensures that the path with the minimal total distance or cost is selected, taking into account the complexities of moving through 3D space. So, we have the introduction of a known means of navigation, that does 4D (by inclusion of a temporal parameter) mapping in this model.
Then we have the inclusion of Diablo Canyon -- but there are six of these in North America. Three of these are very close to government sites.

• Diablo Canyon Power Plant, California (nuclear)
  • Nearest government: Vandenburg AFB, 35 miles south.
• Diablo Canyon, New Mexico
  • Los Alamos National Laboratory, 20 miles north.
• Diablo Canyon, Washington
  • Naval Air Station Whidbey Island, 70 miles northwest.
• Diablo Canyon, British Columbia, Canada
• Diablo Canyon, Utah
• Canyon Diablo, Arizona

Which could the leaker be talking about? And why is it interesting in the context of UFOs?
Why would a UFO avoid a canyon?

2. Energy fields, UFO navigation and "fault lines" in gravity.

There are numerous reports and stories of things like claimed lasers, directed energy weapons/fields, and even allegedly things like RADAR having some manner of detectable impact on navigational capabilities of UFOs/NHI craft. The lore is full of this topic over time, and it aligns substantially with the scientific backgrounds of people known to be involved, like Sean M. Kirkpatrick.
This caught my eye as I've been doing a lot of reading on certain much lesser-known effects of fault lines, after I learned that the home and neighborhood I lived in as a child, where a group of us saw a "saucer", was literally sat atop a small land mass completely encircled like an island by fault lines. This is not unique--there are others. But this was a wild surprise to me, and especially when the flight path of the ship we saw... once I saw the fault lines path/heading...
It was the same route. The thing we saw, once I saw the fault line maps... it was like looking at a snippet of a Google Maps route that the UFO took, for the duration of our experience seeing it. I did not know this for decades.
For the curious, the bread crumb that led down this path was not this whistleblower, fault lines, or my own experience. It was studying Lagrange Points.
What's a Lagrange point?
Positions in space where the gravitational forces of two large bodies, like Earth and the Moon, balance out the centripetal force felt by a smaller object, allowing it to remain in a stable position relative to the two larger bodies. Think of it like the mid-way point between any two bodies with mass that impact gravity. Earth/Jupiter. JupiteSun. Earth moon/Neptune. You/your cat. It's not a 50/50 thing; if you are and your cat are 10 feet away, it's not 5-foot between you. It's also impacted by gravity from other bodies within range (and range is infinite because gravity is, no matter how infinitesimal at long distances).
There is even conceptually such a place, even if it's trivial in variation, between galaxies.
Keep in mind: there are specifically named 3D mapped always-moving (as Earth/moon for example) always-in-motion Lagrange points for the Earth and Moon. Five total--but those are just the optimal ones. There would be a relative band of space where overall the gravity between bodies is more balanced.
Almost like a fault line in gravity, huh?
That, the fault line discovery related to my experience, and my (then) unrelated fault line research which was pure curiosity unrelated to UFOs... at first.

3. Piezoelectrics, Electrokinetics, and Gravitational anomalies.

So we have a new claimed 4D mapping/navigational tool by NHI UFOs, and that they go out of their way to avoid some "Diablo canyon" no matter what we do. We know definitively there are places where gravity can have relative weak spots, due to the balancing of gravitational waves/forces/mass between bodies. All bodies with mass produce gravity... including tectonic plates.
But that's not all they produce in terms of energy.
Fault lines can generate three different distinct effects beyond seismic (shaking/motion) impacts on the world.
They are:
Stress-induced Piezoelectric Effects
Stress-induced piezoelectric effects refer to the generation of electrical charges in certain crystalline materials, such as quartz, when mechanical stress is applied. These effects are caused by tectonic stress and strain in the Earth's crust, which deforms the crystalline structures, generating electric fields. At the surface, these effects can disrupt local power grids, cause voltage fluctuations, and affect sensitive electronic equipment. In the atmosphere, piezoelectric effects can lead to changes in the ionosphere, affecting radio signal propagation and GPS accuracy up to altitudes of around 600 km. In space, the impacts are typically observed as changes in ionospheric electron density, detected by satellites in low Earth orbit (LEO), such as those at altitudes up to 1,200 km.
Additional reading:

1. https://en.wikipedia.org/wiki/Piezoelectricity
2. https://en.wikipedia.org/wiki/Seismoelectrical_method

Electrokinetic Effects
Electrokinetic effects are electrical phenomena that occur when a fluid (such as groundwater) moves through a porous medium (like soil or rock) under the influence of a pressure gradient. These effects are caused by the movement of ionized fluids through the Earth's subsurface, which can be influenced by tectonic activity, fluid injection, or natural fluid migration. At the surface, electrokinetic effects can alter groundwater flow, impact water supply systems, and cause electrical disturbances in subsurface sensors. In the atmosphere, these effects are less direct but can influence humidity and ionization levels, which may affect weather radar and communication systems. In space, electrokinetic effects are typically not directly observed; however, related ionospheric disturbances from fluid movement in the Earth's crust can be detected by satellites at altitudes up to 1,200 km.
Additional reading:

1. https://en.wikipedia.org/wiki/Magnetotellurics
2. https://en.wikipedia.org/wiki/Electrokinetic_phenomena

Gravity Anomalies
Gravity anomalies are variations in the Earth's gravitational field caused by differences in the distribution of mass within the Earth. These anomalies are caused by subsurface geological structures such as mountains, valleys, fault lines, and varying rock densities. On the surface, gravity anomalies can affect precise geodetic measurements, influence surveying accuracy, and impact construction projects that rely on gravitational data. In the atmosphere, gravity anomalies can slightly influence the flight paths of aircraft and atmospheric satellites, but these effects are generally minimal. In space, gravity anomalies are detected by satellites like the GRACE mission at altitudes of around 500 km, affecting satellite orbit calculations and providing data on Earth's subsurface structures and water distribution.
Additional reading:

1. https://en.wikipedia.org/wiki/Gravity_anomaly
2. https://en.wikipedia.org/wiki/Bouguer_anomaly
3. https://en.wikipedia.org/wiki/Free-air_gravity_anomaly

4. The impact of fault lines on UFOs.

Disturbances related to stress-induced piezoelectric effects, electrokinetic effects, and gravity anomalies have been observed and recorded at various altitudes. Here are some notable examples across different categories:
A) Stress-induced Piezoelectric Effects

• High-altitude Observations: Piezoelectric effects typically influence ground-based systems such as power grids and sensors. There is limited data on their direct impact at high altitudes. However, atmospheric electrical phenomena, such as changes in the ionosphere related to seismic activity, have been noted up to several hundred kilometers above the Earth's surface. These are often detected by satellites in low Earth orbit.

B) Electrokinetic Effects

• High-altitude Observations: Electrokinetic effects primarily affect subsurface and near-surface fluid dynamics. There is no significant evidence of direct electrokinetic phenomena being observed at high altitudes. However, related atmospheric effects, such as changes in humidity or ionization, can indirectly influence atmospheric layers.

C) Gravity Anomalies

• High-altitude Observations: Gravity anomalies have been detected at high altitudes, including by aircraft and satellites. Gravity Recovery and Climate Experiment (GRACE) satellites, for example, operate at altitudes of approximately 500 km and have provided detailed maps of gravity anomalies across the Earth.

Specific High-altitude Observations

1. Ionospheric Disturbances Related to Seismic Activity:
   
   • Altitude: Up to 600 km.
   • Impact: Changes in electron density in the ionosphere, detected by satellites.
2. Gravity Anomalies Detected by GRACE Satellites:
   
   • Altitude: Approximately 500 km.
   • Impact: Detailed mapping of Earth's gravity field, revealing variations due to tectonic and other geological processes.

Summary

• Stress-induced Piezoelectric Effects: Up to ionospheric altitudes (~600 km) via indirect atmospheric electrical phenomena.
• Electrokinetic Effects: Primarily near-surface, with no significant direct high-altitude observations.
• Gravity Anomalies: Up to satellite altitudes (~500 km), with significant observations by GRACE and similar missions.

Reports say that the navigational apparatus of UFOs can be impacted by energy fields, implying this plays a role in their crashing. Similar claims revolved around electromagnetic fields.

5. Why would UFOs avoid "Diablo Canyon"?

We need to know which one it is. The most likely based on the intersection of fault lines; fault lines with impacts; and near proximity to notable UFO-related locations--Vandenburg and Los Alamos--leaves us with New Mexico and the nuclear power planet.
Here are all nearby relevant fault lines for each.
This section took a substantial amount of digging/cross referencing over weeks. I had begun this for a fiction/story idea that didn't pan out, and did not save the litany of sources I read. This is a summary.

A) Diablo Canyon Power Plant, California

• Hosgri Fault Zone

  • Location: Offshore, running parallel to the coast near the power plant.
  • Stress-induced Piezoelectric Effects
    • Specific Locations: Documented near Avila Beach and Montaña de Oro State Park.
    • Relative Strength: Moderate compared to other equivalent faults in California, such as the San Andreas Fault. The presence of quartz in the fault gouge enhances the piezoelectric effect, making it comparable to effects observed in the Garlock Fault.
  • Electrokinetic Effects
    • Specific Locations: Recorded near Diablo Canyon Power Plant and Morro Bay.
    • Relative Strength: Comparable to electrokinetic effects seen in the Hayward Fault in California due to similar fluid movement dynamics.
  • Gravity Anomalies
    • Specific Locations: Detected offshore near Point Buchon and Diablo Canyon Power Plant.
    • Relative Strength: Significant compared to other coastal fault zones, with variations similar to those found in the Cascadia Subduction Zone.

• San Andreas Fault

  • Location: Approximately 10 miles inland from the power plant at its closest point.
  • Stress-induced Piezoelectric Effects
    • Specific Locations: Parkfield, California and Hollister, California.
    • Relative Strength: High, as the San Andreas Fault is one of the most studied and active fault lines globally. The piezoelectric effects are significant and comparable to those seen in other major fault systems worldwide.
  • Electrokinetic Effects
    • Specific Locations: San Juan Bautista, California and Carrizo Plain National Monument.
    • Relative Strength: Significant, due to extensive fluid movement and high seismic activity. Comparable to effects observed in the Wasatch Fault Zone.
  • Gravity Anomalies
    • Specific Locations: Palmdale, California and San Bernardino, California.
    • Relative Strength: Very high, with anomalies providing critical insights into fault mechanics. Similar to those in the New Madrid Seismic Zone.

• Shoreline Fault

  • Location: Discovered in 2008, runs very close to the plant, offshore and parallel to the coastline.
  • Length: Approximately 25 miles.
  • Within 5 miles: The Shoreline Fault comes within 5 miles of the Diablo Canyon Power Plant.
  • Stress-induced Piezoelectric Effects
    • Specific Locations: Nearshore areas close to Diablo Canyon Power Plant.
    • Relative Strength: Potential effects are moderate, with less documentation compared to major faults.
  • Electrokinetic Effects
    • Specific Locations: Offshore areas near the power plant.
    • Relative Strength: Comparable to minor faults in coastal regions.
  • Gravity Anomalies
    • Specific Locations: Offshore near Diablo Cove.
    • Relative Strength: Minor, indicating subtle density changes.

• Los Osos Fault

  • Location: Within 10 miles of the power plant.
  • Stress-induced Piezoelectric Effects
    • Specific Locations: Los Osos Valley.
    • Relative Strength: Minor compared to major faults but notable within the local context.
  • Electrokinetic Effects
    • Specific Locations: Areas with significant groundwater flow near Los Osos.
    • Relative Strength: Comparable to small, groundwater-rich fault zones.
  • Gravity Anomalies
    • Specific Locations: Los Osos Valley.
    • Relative Strength: Minor anomalies detected.

B) Diablo Canyon, New Mexico

• Embudo Fault

  • Location: Within 20 miles of Diablo Canyon.
  • Stress-induced Piezoelectric Effects
    • Specific Locations: Near Dixon and Pilar, New Mexico.
    • Relative Strength: Moderate compared to other faults in the Rio Grande Rift. Similar effects to those observed in the East African Rift.
  • Electrokinetic Effects
    • Specific Locations: Near Embudo, New Mexico.
    • Relative Strength: Moderate, consistent with other active rift zones with significant groundwater interaction.
  • Gravity Anomalies
    • Specific Locations: Near the town of Española, New Mexico.
    • Relative Strength: Significant, providing insight into the rift's complex tectonic structure. Comparable to anomalies in the Basin and Range Province.

• Pajarito Fault

  • Location: Within 20 miles of Diablo Canyon.
  • Stress-induced Piezoelectric Effects
    • Specific Locations: Near Los Alamos, New Mexico.
    • Relative Strength: High, due to active seismicity and the presence of stress.
  • Electrokinetic Effects
    • Specific Locations: Near White Rock, New Mexico.
    • Relative Strength: Significant, due to active groundwater flow in the region.
  • Gravity Anomalies
    • Specific Locations: Near Los Alamos National Laboratory.
    • Relative Strength: Notable, with detailed mapping providing insights into fault mechanics.

6. Conclusion

Simply, some variables on the navigational systems of the UFO craft which rely on precise 4-dimensional mapping for their navigational system, with implied near real time adjustments across all parameters, are negatively impacted by unexpected or significant enough to not be able to compensate for impacts from native Earth effects generated by tectonic plate actions, in specific key locations.
I'd often suspected if there was something like this related to the handful of known crashes, and them seeming to be concentrated in certain areas. With this leaker, we see another few possible pieces of a puzzle filling.
Are they legitimate? We obviously can't tell, today. But this new data sure does align with:

1. Reports of the USA trying to "bait" UFOs.
2. Reports of the USA utilizing nuclear facilities to this end.
3. UFO engagement with nuclear sites.
4. UFOs reportedly avoiding certain areas, not limited to prior crash locations.
5. UFOs reportedly being seen over time in the same places or repeated routes/locations.
6. The USA getting big into gravity research along these lines (gravity scanners for military).
7. Elizondo references to LIGO.
8. And more beyond, that I'm sure more of you can recite from memory than I could.

Maybe this has some part of the genesis of the mythology of ley lines, because ancient humans couldn't possibly on their own know all these things. Were they just energetically charged fault lines that had some manner of intersection over time with UFOs?
If anyone wants to run with this or research equivalent sites in other parts of the world and their intersection with UFOs/UAPs, this may be a worthwhile rabbit hole for pursuit.

In the realm of nature, nothing quite captures the awe-inspiring force of lightning. Even in our modern-day age, with all our wonders and technologies, witnessing a lightning strike and hearing its thunderous sound can’t help but leave us with a sense of awe and respect for the power of the natural world.
Among the Cherokee, a special kind of respect was paid to lightning. The burnt wood from trees struck by lightning was sought after by shamans. The wood would be buried in soil to ensure a healthy crop and warriors were rubbed with the charred wood for strength, effectively being “charged with bolts of sacred fire”.
To the Cherokee and other groups, lightning was a dramatic display from the spiritual realm, and served as a reminder of the spiritual forces that pervade the natural world and influence human life.
Interestingly, the branching pattern observed in lightning strikes is mirrored across various natural phenomena in our world, with one of the most recognizable patterns being the network of branches in trees.
This striking similarity stems from a shared principle of growth and movement: both the electric charge of lightning and the tree limb navigate from a point of lower potential to one of higher potential, albeit in opposite directions—lightning moves from a high potential charge to a lower one, while a tree limb grows towards a zone with low potential, in this case, a shaded area, towards a zone of greater potential, or sunlight exposure.
This observation highlights a universal pattern of progression; each decision branching out like the limbs of a tree or the forks of a lightning bolt. Perhaps this progression is archetypal, instilled by the Logos as a concept, which is why it is so prevalent. When perceived from a broader perspective, our lives too unfold in a similar branching design, marked by choices and diverging paths that closely resemble the intricate patterns seen in trees and lightning.
This image of a tree and lighting serves to demonstrate that the realm we inhabit is full of metaphors pointing toward higher concepts. Matter is, as the author Walter Russel wrote, “merely the record of ideas and not the ideas themselves”.
Material objects are the shadow of a greater concept which is more nebulous and abstract. The idea reigns supreme, yet its manifestation is physical form. For instance, before we create anything in the physical, it begins first as an idea in the imagination.
Within the imagination, the concept is still nebulous and it has the opportunity to take many forms. It is not yet concrete and “real”. It is still in “potential”.
Once the concept is acted upon, and work is done to bring it into form, then suddenly it has a real-world impact. It is “real”. Yet, at the same time, it’s not real. It’s only the shadow of the concept itself.
This brings up an interesting question: which is superior? The idea or the form based on the idea?
Some would suggest that the point of art, for instance, is to convey concepts. Observing a masterpiece allows us to converse with concepts of a higher order, transcending the physicality of the art piece itself. It matters not what medium the art takes, what matters is the concept that is being conveyed.
This dynamic interplay between the ethereal and the tangible showcases how higher ideas manifest and how these manifestations, in turn, draw us closer to the divine.
As the author and occultist David Goddard writes in his book Tree of Sapphires,
“By the penetrative observations of the Microcosm, you receive intimations of the Macrocosm”.
Perhaps no spiritual tradition encapsulates this concept more distinctly than Qabalah.
Qabalah is a form of Jewish mysticism aimed at understanding the nature of God and the universe. It offers a framework for comprehending the relationships between the Divine, the cosmos, and humanity through a system of ten spheres (Sephiroth) and 22 paths that represent different aspects and levels of consciousness and reality.
The system is visually represented by the Tree of Life, which serves as a map illustrating how the Infinite One, or Ain Sof, interacts with the finite world. Its emanations are called Sephiroth, which are attributes or aspects of the Infinite One.
Holistically, the Tree of Life can be viewed as the process through which the Infinite One differentiates itself into physical reality, metaphorically representing the transition from 0 to 1. It also represents the path back towards unity, from the lower to the higher.
As David Goodard writes,
“It is the lighting flash from Kether at the top of the tree, down to Malkuth that shows the path of involution, or the One Life-Power descending, plane by plane, veiling itself in denser vibratory states.
The sequence of the lighting flash from Malkuth ascending to Kether is the way of evolution, termed the Path of the Return.”
It is the Path of the Return that we will be discussing - starting with the very last sphere on the tree: Malkuth
Malkuth
The Tree of Life is a visual metaphor for how the One differentiates itself into many. One way to study the tree is to see it as a system of triangles made up of various interconnected paths. These paths are described as Activating, Formative and Balancing.
The author Robert Wang in his book The Qabalistic Tarot writes,
“...each of the key triangles on the Tree refers to one part of the Soul: The Supernal Triangle is the Supreme Spiritual Self, the Ethical Triangle is the Higher Self, and the Astral Triangle is the Personality in incarnation.”
In addition, he writes “the core structure of each part of the Self is composed of three aspects, an Activating (Yod-Fire), a Formative (Heh-Water) and an energy which is Balancing (Vau-Air)”
Therefore, each sphere works with the other to form the whole. The only exception is the final sphere, Malkuth. Malkuth contains all three aspects and includes a fourth: “Heh” or “Earth”. Yod Heh Vau Heh, also known as the Tetragrammaton, or the “unprounceable name of God”. Malkuth is the solidified end result of the actions of the Yod Heh and Vau.
You might also liken these forces to the Hegelian dialectic of Thesis, Antithesis, and Synthesis.
The forces can also be thought of states of consciousness.
The Tree of Life is also divided into three Pillars. The left Pillar are considered “active” forces and the spheres on the right side of the Pillar are considered “formative” or “passive” forces. Within the Middle are the equalibrating forces, considered consciousness itself by Qabalaist.
To visualize this better, think of music played from a guitar. The string is the formative, or passive force, the tension and vibration of the string is the active force, yet without the balancing force of the musician, no music could be created. You would just have noise.
We should regonize that there is no true beginning and no true “end”. When one looks at the Tree, both the bottom, Malkuth, and the top, Kether are both the beginning and the end. The top of the Tree contains the sphere known as Ain Soph, which is God prior to any self-manifestation, existing in no-thing, or what Ra refers to “Intelligent Infinity”.
Therefore, as the light moves further from Kether, it gradually gets stepped down into lower and lower vibrations, filtered through the activating, formative and balancing forces of each triangle.
Malkuth is denest realm on the tree, the “final” destination of the light from the One. It is the what we call the physical universe, the world of form.
In the book The Mystical Qabalah, the author and mystic Dion Fortune writes this about Malkuth,
“It is the formative, concreting function of Malkuth which finally renders tangible and definite what was, upon the higher planes, intangible and indefinite, and this is its great service to manifestation and its characteristic power.”
Within Malkuth, the tangible is precise, and the abstract takes a backseat. Forms here acquire a defined outline, in contrast to the superior spheres where the form is fluid and undefined.
Malkuth is the grounding point of the Divine’s will, where the idea finally becomes manifest.
However, the process of grounding this energy requires the use of channels and links.
Dion Fortune also writes,
“The whole problem of Malkuth is a problem of channels and connecting links. The rest of the work is done by the mind on the subtler planes; the real difficulty lies in the transition from the subtle to the dense, for the subtle is so ill-equipped to work on the dense. This transition is effected by means of the magnetism of living things, whether organic or inorganic.”
The physical, being a dense realm, can be difficult to break through without the appropriate channels and magnetism of beings and objects existing in this realm.
Being immersed in matter, it can be easy to think that we are cut off from the Divine. And, while it can be difficult to hear at times, the subtle calling of Spirit is always transmitting information.
As we work on clearing the rocks and thorns that block the heart, it becomes easier to hear the call of Spirit and to form that connection to the higher realms.
The more we form the connection and listen to the higher callings of Spirit, the greater impact Spirit can have in Malkuth.
The conduit for this connection is, of course, you. All of us have the potential to be channels for the Divine. In fact, as wanderers, this is perhaps the main reason for incarnating on this planet.
To act as that grounding point for the Divine. This is the natural role of humanity. To be the embodiment of Spirit in the physical realm of Malkuth.
This is the act of being a co-creator of the Logos.
Recall that each Logos is responsible for setting up the archetypal framework of a particular system. Everything materializing in Malkuth is a direct offspring of these archetypical blueprints.
Take, for example, the form of the galaxy. Our galaxy adopts a "spiral" configuration which one can see throughout the physical universe. This shape happens to resonate deeply with narrative structures, notably the "Hero's Journey"—a seemingly universal storytelling structure that is found in almost all myths told across cultures and time.
It can be argued that the reason this storytelling structure is so universal is because it is archetypal. That is, it is not learned, but rather inherent in all of us, accessible by those sensitive enough to perceive within the Deep Mind.
The narrative arc of the hero's journey unfolds as follows: The protagonist starts with a certain limitation, be it a belief system or another type of restraint. Eventually, the call to adventure beckons, leading them to accept this quest.
This journey propels them through trials and tribulations, adversity, and shadowy depths, facilitating their growth and leading to the acquisition of vital wisdom. After triumphing over these challenges, the hero returns, ready to embark on a new cycle, equipped with newfound insights.
This narrative framework underscores the principle of continual growth. To evolve spiritually, one must journey beyond the familiar, confront their inner darkness, and from this confrontation, arise, reborn. However, like in real life, the process is never-ending.
If one were to conceptualize this structure visually, it would mirror the form of a spiral.
Since the spiral shape is so ubiquitous, and if we understand that the Divine imprints higher concepts into the physical, then it appears that this archetypal story structure could be a universal pattern, at least in our logos.
This raises an interesting thought: galaxies with alternative formations might operate under distinct archetypal systems, a reflection of the endless variety and complexity inherent in the cosmos. Perhaps a hint as to what those archetypal frameworks could be is found it the shape of their galaxies.
How often have we heard of individuals being suddenly "struck" by a bolt of "creative genius"? Numerous tales abound of artists, scientists, writers, and the like who have given birth to magnificent creations, only to profess that the origin of their "unique" ideas felt as though they were not entirely of their own making but were, in essence, "channeled" from an external source.
This phenomenon suggests a connection to a higher reservoir of knowledge and inspiration, indicating that profound concepts are omnipresent, awaiting discovery and expression in our world.
This is part of our role here in Malkuth. To be conduits, grounding points, for higher concepts. To be the builders, where we can, of the archetypal frameworks thought up by the Logos.
This is true co-creation. To be aligned with the Divine, with Nature, allows one to receive, thus enabling them to move beyond the limitations imposed by Malkuth.
Malkuth is the first step on a journey back to the Ain Soph, back to no-thing. It is an essential step in our journey. As Dion Fortune writes,
“The Qabalah teaches that the body is the Temple of the Holy Spirit, and that unless we learn the lessons of Malkuth there can be no lasting progress beyond. The fact is that our first spiritual lessons come from those around us.
And if we cannot function effectively on the material level, learning from the day to day patterns which we have chosen for our incarnation, it is unlikely that we will be able to function effectively on a more refined spiritual plane. The ability to sense the importance of the ordinary is a special form of discrimination.”

Any known issues of water intrusion to the cab specifically showing itself around the fuse panel? It's coming from somewhere behind the tab I outlined. I only noticed when I went to get in the car and it had rained today, there was water on the floor map. I open the panel and I had water dripping onto the fuse panel and down past. Just looking for any known issues.

Challenge link: https://www.geoguessr.com/challenge/BgzZbggAuYx7YjAn
IMPORTANT: In R5, you will see a plain square. This is NOT one of the four "plain square states". It is Rhode Island. For whatever reason, the usual state highway sign with the additional R.I. was not used here.
The map: US State Highways
Deadline: May 21, 8 pm UTC (1 pm PDT, 4 pm EDT, 10 pm CEST).
You are facing a U.S. state route sign. Do you recognize the state without moving? How fast can you find the route number on the map? You have just one minute! Good luck and have fun! :-)
Please post your score of the challenge as comment in this thread if you want to have it counted for the leaderboard. Every posted score counts for the leaderboard of the season.
This is the first challenge of season 6. Like in all previous seasons, we will play 13 challenges. This is how the scoring system works: The top score posted here on reddit gets 100 points (100% ;-)). Every other result posted here gets points based on the percentage compared to the top score. Decimals are cut off.
Here are the results of challenge #108. Congrats to kuhl_kuhl for posting the highest score.

Rank	Reddit Name	Result	Percentage	Points
1st	kuhl_kuhl	22901	100.00	100
2nd	rtlewis123	22393	97.78	97
3rd	gobluetwo	21822	95.29	95
4th	\Rooster\	21160	92.40	92

Final standings of season 5:
Congratulations to the top three players of season 5 gobluetwo, rtlewis123, and solarsensei. Well done! :-)

Rank	Reddit Name	Points
1st	gobluetwo	1201
2nd	rtlewis123	1087
3rd	solarsensei	679
4th	thatLoG42	597
5th	kuhl_kuhl	388
6th	DashOneTwelve	196
7th	\Rooster\	176
8th	sigusr3	99
9th	Im_Sleepy_ZZZZZZZ	45

Hall of Fame

Season	1st	2nd	3rd
1	bdm6985	saladpants77	solarsensei
2	bdm6985	solarsensei	fbrasseur
3	bdm6985	rumilb	solarsensei
4	solarsensei	gobluetwo	rtlewis123
5	gobluetwo	rtlewis123	solarsensei

Last Challenge:
R1: State outline of Georgia. GA-1 is running in concurrency with US 27 over a long distance. This road number was only visible if you zoomed very far into the map. Scanning along US 27 for Franklin was probably the best strategy to find the location. Some players guessed on the bridge of US 27 over GA-34. Our location was a bit further down the road at the access road to the US highway. 2 perfect scores. :-)
R2: New Mexico. We didn't see the normal sign with the Zia Sun symbol but the simple design (white circle on a green background). New Mexico is the only desert-like state that has a circle shaped state highway sign. The Jeep in front of us had the yellow license plate of New Mexico. We couldn't see a sign for US 550 but the distance sign behind us with distances to towns along (or close to) US 550 could have helped to find the correct highway. 2 perfect scores. :-)
R3: Montana. I'm sorry for this round. Normally, I would have discarded this seed, but the last Montana round was in challenge #86 nearly 7 months ago. Therefore, I kept it. There was a blurry sign for US 2 in front of us. When you turned around you could see another sign which was much better visible. However, US 2 runs through the entire state, the town name wasn't visible anwhere, and MT-42 is just a short highway, so it could easily be missed when scanning along US 2.
R4: Hawaii. Highway numbers in Hawaii are organized by island. Road numbers starting with 6, 7, 8, or 9 are found on the island of O'ahu. However, the sign to Honolulu and Pearl Harbour made it easy this time to find the correct island. ;-) 5 perfect scores. :-)
R5: State outline of Missouri. Most players who knew that we were in Missouri also found US 60. Scanning along US 60 for the state highway should have helped to find the location. 8 perfect scores. :-)

To those folks in the know - I would love to try updating/rewriting the rules for one of the old GDW boardgames (Imperium, Mayday, Invasion Earth and others) and this way pay a homage to GDW. Perhaps even redoing the counters/maps. Which of these would best benefit from this? I know some were later reissued and perhaps are still being actively sold (as contrasted with the PDF versions sold through Wargamevault). Can you stir my inspiration? Disclaimer: I am no graphic artist, so do not expect Vincent Dutrait art, I am more of a functional guy with some splashes of color and outlines.

I was in two minds as to add my opinion to an already crowded field, but I think I need to write my feelings down on a franchise that has inspired my imagination for decades. I will state up front that I think BBI had a nearly impossible task - how to please veterans and players of old, and attract new players to the franchise that will continue to breathe life into it.
I think they may have succeeded with the latter, but probably failed with the former.
It pains me to have to be so negative, and I don't want to come across as a spoiled entitled gamerdude who's angry he didn't get the game he wanted. I'm sure many will disagree with my points, but I don't think I'm alone either.
TLDR at the bottom.
First, some nice things to say
The game does look lovely. Battles, while chaotic and messy the sound design is wonderful, the battle chatter and PDCs from capital ships/assault frigates are seriously impressive.

• CONTAINS SPOILERS BELOW *

Campaign
It's short. Unbelievably so. I completed it in two sittings. Some missions/levels, whatever you want to call them are over in 20 minutes, some take a little longer but usually consist of one or two objectives before the player is hastily moved onto the next mission.
I didn't really gel with the story, it felt a little clichéd - 'the new protagonist is in search of the old one' didn't make any sense to me. The whole thing felt like a missed opportunity. They had free reign to do whatever they wanted, but seemed to have gravitated back to a weird 'prophecy' story where I understood very little considering just how much exposition is forced upon the player.
I must have missed what the 'anomaly' was because I kept seeing it being mentioned but had no idea how it fit into the story.
Gameplay and storytelling pacing is a problem
Gone is the slow and steady story telling of old, no sense of wonder or mystery - instead we're hurried along from beat to beat, always being told something is urgent and frequently being reminded that an objective needs completing.
The player is robbed of agency in a lot of cases. In one mission, we're just given a carrier from the start - no research or objectives to complete in order to earn it - just hey you'll need this. I remember in HW1, the first time you make a destroyer, or the first time you build a carrier it's an exciting moment, you feel a sense of achievement and can't wait to see how this changes the battlefield.
You don't get to feel that in HW3. In fact, some missions you might get access to several new units within minutes of each other, so you never really get to explore how each one affects the battles. The pace of the gameplay means you're constantly under attack or under pressure with few moments of calm.
Also, there are times when storytelling got in the way, especially after a lengthy cut-scene the player would be taken out of the game for a moment to show something on the sensors, sometimes multiple times within a few moments of each other. Infuriatingly this didn't seem to pause the action. It was like the steering wheel was taken away from you while you were trying to navigate around a bend.
Gameplay mechanics are simplified compared to previous HW titles
Because there is little in the way of microing your units, (no attack move, no kiting more powerful ships) you find yourself constantly in the build menu maxing out your unit caps to replace lost ships. And you can do that, by the way, because you have literally infinite resources. At no point during the campaign did I have less than 10,000 RUs.
EDIT 2: So according to a post below, attack move is available - but it's hidden. You have to open the movement disc and hold cntrl to activate it. This does help a lot, but I went through the whole campaign without using it once!
Resource collecting no longer means a player has to choose how to best manage their resource economy. They've taken all that away by giving the player the easy version. The resource controller does it all for you. I really miss how cool it was that resources would drop off at the MS or carriers, then you could upgrade your economy with controllers. Here we've skipped over that, you get the dumbed down version, the player no longer has to choose between positioning a valuable carrier for their economy or as a forward base for supporting strike craft and replenishing frigates.
I remember a while ago I saw someone post here that they hated HW2 strikecraft squadrons and preferred the individual units of HW1. I honestly thought it was the stupidest thing I've ever read regarding this franchise. Strikecraft squadrons added to the scale of the battles, but more importantly it was much more rewarding to manage. By efficiently microing your fleet, you could 'save' a whole squadron by docking it. Now it feels like you just spaming strike craft endlessly with little hope to save individual ones because they'll usually die before you can react and send them home to dock. I just can't understand why they went back to HW1 with that mechanic when clearly, squadrons are the superior choice for many reasons.
For all the talk of terrain and cover being a major gameplay mechanic, I found myself barely using it. Frigates and capital ship pathfinding meant it was just easier to avoid going near it.
Support frigates look like they have space for strikecraft to dock, but I've never seen them go near it. Feels like a feature that was never implemented.
Enemy faction feels... uninspired
The Incarnate ships have all taken their design from the Progenitors, but I'm surprised just how little variation there is in the design. They all look like mini Sajuuks or Progenitor Dreadnaughts from HW2. Don't get me wrong, they look great - but this is problematic from a gameplay perspective, but you only really see the subtle differences up close. However, you rarely have the opportunity to appreciate that due to the chaotic nature of the battles. Distinguishing between Incarnate units is almost impossible as they all share a very similar profile.
UI is much improved since the demo, controls are much better
I'm glad they listened to the feedback, the UI is more intuitive and micro animations give the player the right clues as to what is going on. However, I still struggled to identify which ships I have selected at any given time. Sometimes there will be little numbers over the top of units, but they don't correspond to the group number - it's quite confusing.
I was one of the biggest complainants of the new control system after playing the demo, however, I found myself switching from classic to modern during the campaign - mostly out of necessity - it's quite difficult to navigate around the terrain elements of the maps in classic mode.
But the improvements BBI have made to the responsiveness of the controls have made that transition much easier, props to them for doing that.
Multiplayer / War Games
I haven't had much luck with either of these modes, quickplay doesn't seem to work - trying to connect to anyone in the lobby results in failure most of the time. Of the few games I've played half the time one or more players drop out. This is going to be a major paint point for players new and old, and it'll need improving quickly if this game is going to hold onto any significant player count.
What I think happened here
Making an AAA title these days is hard. It's expensive, and the resources and investment needed to deliver it are enormous. It's why we see so many games released that feel rushed or unfinished. Investors/publishers want to see a return on that investment at some point, it's just a reality of modern-day game development. HW3 was delayed several times and we still ended up with (in my opinion), a sequel that feels rushed and underbaked.
I suspect a lot of this was down to pressure from the publisher to:
A. Try to appeal to a wider market by simplifying the gameplay B. Cut the amount of content to get the product released sooner
Unfortunately for players like me, who wanted a uniquely Homeworld campaign experience has left me feeling wanting. And I'm really sad about that. There are clearly many talented folks at BBI, and I can't help but feel this isn't the game they wanted to release... like they could have used another year or two of development if they could perhaps?
The campaign ending left it open for the possibility of us seeing more content set after these events. I would be entirely open to that, but they'd need to fix some of issues that I'd outlined above if I thought it'd be worth my time and money. But that doesn't appear to be on the year 1 roadmap. My current experience with War Games sort of tells me I've wasted my money a bit if that's all we're getting.
Maybe, after the Year 1 roadmap we'll see the possibility of a continuation of the story - the hunt for the crew of Karan's ship for example.
TLDR
The campaign is too short, and while punctuated with genuine moments of delight, pacing is problematic and the player is often robbed of agency and a sense of wonder. Battles, while pretty, are ultimately a chaotic war of attrition due to simplified gameplay mechanics.
The campaign experience has felt rather shallow and underbaked. Players of previous HW titles will be left feeling like underwhelmed in my opinion.
However I'm sure many new players will enjoy the game much more, it is still one of the most unique titles out there at the moment.
6/10
Edit 1: formatting

Intro

It’s not much of a stretch to say that violence is the primary form of interaction in video games. With a handful of exceptions, most video games involve guys whacking other guys, with varying degrees of brutality. Even chill games fall into this - Stardew Valley has sections with combat in them! Considering the pervasiveness of violence in video games, there has been a ton of amateur and academic commentary on the topic. However, while this is a well-established school of thought, I haven’t seen people try to apply this to Fire Emblem specifically.
So, let’s do that now! In this post, I’ll be exploring how violence in Fire Emblem is implemented - what limitations are placed on violence, how it warps wider game and narrative design, and what it implicitly says and does not say. I hope this post doesn’t come off as too early-2010s “makes you think”-y, but I do think there are multiple interesting things worth talking about here!
Despite the length of this post, "a brief discussion" is an appropriate title, as we won't be able to go into depth on everything. After all, video games are holistic works, so the attitude towards violence is relevant to every aspect of their design. However, I have managed to wrangle some of these threads into the following structure: first a discussion on the fundamental mode of interaction in Fire Emblem, then how stories are constructed with regards to violence, and ending with the aesthetics of violence and how they relate to characters. Also, as FE is a huge series, be aware that I am gonna be making some broad statements which may not apply to each individual plot point of every game. I actually planned to write 3 case studies around Thracia 776, Fates, and Three Houses (which have the most interesting attitudes to violence in the series IMO) which point out these deviations, but this post is way too long and full of tangents already. If people are interested, I’ll make a followup to this post which goes into them in more detail. Also also, because of the nature of this post, I’ll actually give a useful TL;DR for once:
TL;DR: Nintendo games must be fun mechanically, and they can’t be too uncomfortable narratively. If you try to provide a counterpoint by saying “oh this Kirby final boss is super dark it eats 100 morbillion galaxies”, you do not deserve rights. IntSys has to keep to this as a 2nd party publisher, but they also have to deal with the fact that their games are at least nominally about ‘war’ (or at least they put their toes into that particular thematic pool). This conflict between making a fun video game for children/teens and the wider framing of the narrative leads to interesting narrative and aesthetic tensions. also fun is cringe, misery is based

“Do you like hurting other people?” (or The Fundamental Mode of Interaction)

OK LISTEN I KNOW I LITERALLY JUST SAID THAT I DIDN’T WANT TO COME ACROSS AS A EARLY 2010s “VIOLENCE IN VIDYA BAD :O????” PERSON BUT I SWEAR I’M GOING SOMEWHERE WITH THIS
The best place to start when talking about violence in video games is to think about the primary form of interaction in said game. In the case of Fire Emblem, this is in the in-chapter gameplay. Sure, in objective terms the player moves arbitrary objects across a 2D grid which perform subtraction on arbitrary objects controlled by the computer, but this is always framed as controlling a squad of soldiers to engage in (typically lethal) combat with enemies (who are normally also soldiers). When you’re not doing this in-chapter gameplay, you are preparing for the next chapter of combat. This involves surveying the area of combat, preparing weapon loadouts, etc, however more recent entries also include light life-sim-esque elements. To summarize, Fire Emblem’s interactivity involves ordering violence as well as the preparations to order said violence.
For players, this strategic thinking is extremely fun and is the primary draw of the series! You have all these tier lists of who’s better at killing, discussion of the maps where you do the killing, complaints about the length of gameplay sections where you don’t do killing, etc. This is by design, as while I don’t know the core brand tenets of Nintendo, I imagine the Reggie quote “If it isn’t fun, why bother?” is carved into a solid gold statue of Mario in the office lobby. This then is enforced on all associated studios, including IntSys and so Fire Emblem. While I would disagree with that Reggie quote (especially the bit where he says “If it’s not a battle, where’s the fun?” which is a wild statement to make about an entire medium), this approach to making games is ultimately fine, and so IntSys tailored the strategic gameplay to be satisfying to your dopamine receptors. You could analyse what the normalisation of violence even in ‘just for fun’ games says about wider gaming culture, but I won’t get into that here. In any case, let’s dig into a few specifics of FE’s interactivity.
One thing that’s interesting with regard to strategy games is the detached perspective of the player. You order units and observe the resulting violence, but it’s not tactile, you don’t directly swing the sword or shoot the bow or cast the spell like with action games. This adds a layer of separation between the player and what fundamentally happens, at least within the framing that the game provides. It’s not like Call of Duty, where your relationship to the violence is very visceral, where you view everything down the barrel of a gun. OK, I probably shouldn’t use a series that I have very little personal experience with (I only listen to the supplementary lore material, so let’s talk about Sekiro: Shadows Die Twice. While you’re not directly in the driver’s seat, John Sekiro reacts to your every input with extreme responsiveness, so overcoming the game’s challenges i.e. stabbing people is incredibly visceral and satisfying. While this violence is fantastical in nature, there is sufficient blood and explicit sword-action to clearly say “oh yeah you are violently killing all of those bozos with a katana”. Coming back to FE, not only are you far more detached from the violence, it is presented in an extremely cartoony manner… but let’s not get ahead of ourselves here, we’ll get to the aesthetics later. Point is, Fire Emblem gives the viewpoint of a stoic commander, who Does What Needs To Be Done™, and not the viewpoint of an actual soldier who has to do the actual killing.
Now let’s view the player’s perspective on violence from a different angle. Fire Emblem intends for its combat to be relatively relaxed on the player side of things - the turn-based nature allows the player to calmly think through all of their moves, and you typically have perfect information on the enemies. The only exceptions to this are Fog of WaSame Turn Reinforcements, which are rare and typically unpopular amongst the fanbase. This leans into ‘combat as sport’, where (going back to the Reggie quote) you have a fun time picking apart a puzzle with the tools you have, and we all collectively enjoy this! This is a valid way of designing strategy games, and I like what IntSys has done. However, it’s not the only way of making these games - for example, in Total War you have to juggle all your battalions in real time whilst the enemy is bearing down on you, and the XCOM games always have Fog of War and limited information on the enemies, with you never knowing what kind of awful new monster is going to suddenly charge at you. Don’t get me wrong, neither of these follow ‘combat as war’, the principle that violence should properly mimic the stress, tension and unfairness of actual conflict. Hell, neither of them are particularly mature either - Total War is the strategy game equivalent of smashing action figures together, and XCOM emulates a pulp sci-fi alien invasion story. However, the additional pressures these games have make them hew slightly closer to actual conflict, putting you more in that mindset in a way that the clean fun Fire Emblem doesn’t really do. Again, I want to say FE’s approach to violence in in-map gameplay is fine, but when all three of these franchises have an explicit narrative framing of ‘warfare’, it does make Fire Emblem’s narrative a little more… stretched.
Finally, I want to briefly mention the maps. To steal from a brilliant Jacob Geller video, these are Worlds Designed For Violence. At least outside of the Kaga games, the maps you fight on are primarily designed around how the player interacts with them, i.e. fights on them. While I imagine the narrative designers and artists at IntSys are involved throughout the map design process, the gameplay flow probably takes precedence most of the time. Maps are not designed to resemble realistic places that you have to fight through, they are instead designed primarily to provide fun gameplay experiences before being dressed up by the artists to look realistic/fit the specific story beat. This is a more consistently entertaining approach to map design - heaven knows we have a lot of Kaga castle assault maps which are as fun as actually assaulting an entrenched position IRL - but this lack of friction could potentially take the bite out of the intended vibe, neuter any commentary on violence throughout the story.
You may have noticed that we’ve only talked about the “in-map” gameplay for now, when there’s an entire second half of these games, i.e. all the gameplay between the maps. Don’t worry, we’ll get to all of that, but this may fit better in:

Something something “ludonarrative” something something (or Narrative Implications)

(To clarify, here I’m going to talk about the wider plots and narrative structure as opposed to characterisation, as that fits more into the aesthetics of the series)
It’s not bold to say that the narratives of games have to warp around the core gameplay structure. Especially in AAA video game production, the narrative designers usually have to take a back seat to the systems and level designers, at least outside of the initial rough outline they provide in the original game pitch. In this case, the job of the writer is to form vaguely coherent connective tissue between individual levels, setpieces and expensive pre-rendered cutscenes. This must be a very difficult job, and is probably the reason why most video game stories are the way they are. I am not privy to IntSys internal meetings, but I imagine they abide by this paradigm, trying to give a reason for why you fight 20 battles which roughly align with plot beats that were decided years ago.
Put another way, the writers of Fire Emblem must contrive a reason why the characters fight a vast number of violent battles in a strategic manner. This has a pretty easy solution - war! We have found something it’s good for, as whenever the gameplay designers decide that an extra map is required, the writers can just insert “oh no there’s a blockade of enemy soldiers in the way, guess you gotta kill them all”. This is the case for almost all the games and is a fair enough narrative choice, as it’s frankly one of the few scenarios where you could reasonably contrive so many battles, but it’s worth examining this in a bit more detail.
Even in the framing of warfare, there are still a lot of skirmishes, which sometimes the narrative or tone fails to support - or at least, their presence means that violence isn’t taken that seriously. Let’s take an example from early in Awakening: Emmeryn sends the Shepherds to negotiate an alliance with Regna Ferox. On the way, they are ambushed by Risen on the Northroad (1), have to fight the border guards who think Chrom is a bandit I think??? (2), and then after arriving they need to take part in Regna Ferox’s ritual combat to secure their alliance (3). These beats aren’t necessarily bad, and I actually think Awakening uses these opportunities quite well: the Risen are established as a constant threat to the world (except not really in the main story but that’s a whole other thing), “Marth'' gets more development, we set up Regna Ferox as fighty people who like to fight, and while the middle encounter is very tenuous it does set up a funny joke in Cynthia’s paralogue. However, I want to communicate that if the map/encounter designers need X maps between plot points A and B - in this case, needing low-stakes trials in the tutorial period - then there’s gonna be a fair bit of narrative filler. That is to say, there must be multiple combat encounters that kinda just happen, which makes violence a lot more casual in the narrative. See also the myriad examples of “oh shit random bandits attack!”, used to have a lower stakes map, with bandits appearing and vanishing as needed. This works fine enough in the context of ‘combat as sport’, allowing your favourite scrunglo to build up a triple-digit body count, but this casual attitude circumvents potentially interesting ideas with regards violence. Taking the example further, banditry and its causes are never seriously explored, as bandits are just treated as a filler enemy (except in Based As Hell Thracia 776).
Another narrative consequence of needing so many fights is that… you need to fight. That is to say, any anti-war sentiment or appeal to diplomacy in the series is fundamentally undercut by a) strategic combat being a core appeal of the series and b) narrative beats needing to be structured around fighting enemies. It’s a struggle to have moments of diplomacy and reconciliation when you had a fight within 3 minutes of said moment, lest some people start screaming that things are getting boring. This also makes any appeals to pacifism kinda moot. Xander’s quote about “war bad” in Conquest is utter bullshit, as a huge part of the marketing around that route focuses on the coolness of the tactical combat and its challenge. Eirika and Ephraim can never be equal, because Ephraim’s “fighting is fucken awesome” is encouraged by the gameplay, and Eirika can NEVER save 11037 because we need a final boss and no-one else fits the bill.
Speaking of, in video games it’s best practice to have a big bad guy you fight at the end of the story, the toughest mechanical challenge coinciding with the narrative climax. In Fire Emblem, you have one grand final battle which decides the fate of the war and/or world, before cutting to a brief wrap-up and then credits. This is an attempt to make these games satisfying, which is fine, but this is at odds with an anti-war message (which FE often gestures towards) - that is, actual wars tend to be deeply unsatisfying in a narrative sense! Oftentimes, after a decisive battle, things just kinda keep going for a little while afterwards with casualties continuing to pile up until peace terms are agreed. In the few cases where there is a final battle, it’s more of a formality as the decisive moment occurred months ago. See World War 1 and… World War 2 for examples of each, not to mention a whole host of war-related books and films. The problem with doing this in a video game is that it would require having multiple one-sided fights past the most climatic fight, which would be unfun, and we return to that fucking Reggie quote again. While video games can effectively explore this anti-war narrative space - This War of Mine is a fantastic example - it just doesn’t gel with the fun games that IntSys wants to make. I bring this up in the context of FE because Fire Emblem has such an aesthetic focus on warfare compared to other video games, so it sticks out even further. Even in FE6/FE9 where the war is effectively over in the final few maps, the enemies still remain extremely challenging, because if they didn’t things would be boring.
A few minor things that didn’t fit in above before we wrap up this section. First of all, in making an action packed story, Fire Emblem neglects an important aspect of army life in warfare - the “hurrying up and waiting”. In the majority of cases, the breaks between fights is under 10 minutes, it’s just glossed over. Fire Emblem Three Houses is the exception to this, but there it’s more framed as school life. Some people may say “what’s the point in having large amounts of timewasting where nothing happens in my game about war” and to that I would say fuck you, I want to play Jarhead Emblem. Next, Fire Emblem involves fighting people AND monsters, but these targets are typically given equal narrative weight, outside of maybe a funny line of dialogue about someone being afraid of monsters. In 99% of cases, enemy soldiers you fight have no more humanity than literal monsters. The death of any of your beloved soldiers is a tragedy with big sad death quotes, the death of those poor fuckers is quite literally a statistic which is proudly used to rank how well your guys have done at the end of the game. Finally, the limited scope of the violence the series can show limits the potential impact of scenes. In some cases, this is good as the implication is enough, e.g. the ‘Monica’ scene in Sacred Stones is wonderfully grim and would be weakened by anything explicit. However, a number of other scenes are neutered by the limitations on violence. This fundamentally relates to the aesthetics of the series:

insert prozd tweet/skit here (or Aesthetics, Tone, and Characters)

I’ve been talking a lot about ‘the violence committed’, and this might have seemed a bit weird to you. It’s a true statement, but because the violence is mostly cartoony and abstracted - bad guys disappear into nothingness, there’s no blood, etc - it’s hard to think of it in that way. It’s basically impossible to place Fire Emblem in the same artistic sphere as, say, All Quiet on the Western Front. This aesthetic sense was partially tech-limited in the early NES and SNES games, which was grandfathered into the more graphically complex titles, but it’s also related to how the aesthetics unavoidably warp the tone of the work. IntSys needs their games to be relatively lighthearted and unconcerned with the consequences of its violence, as one of the core appeals of these games is the charming cast of characters. As you would expect, it would be a lot harder to appreciate your goofy blorbos and their lighthearted chats about nothing if you could see the brutal consequences of their triple digit body counts. If violence was more realistic, there would be a lot less “ooh I like training and/or this one hyperspecific food” or “I like peace, but I guess violence may be possibly needed sometimes” and there would have to be a lot more trauma and dourness. There are also age rating concerns, as you can’t exactly sell Come And See Emblem to pre-teens. And once more, to clarify: Fire Emblem as it exists now is fine! I like the lighthearted tone of this series, and I like the characters that reside within it. However, a few problems do arise from IntSys’s approach to violence, as occasionally they brush up against darker ideas but (due to similar reasons to the above) they can never commit to them, which neuters their potential impact. This is especially troublesome with regards to characterisation, as the little dudes are a core appeal, so if something is off that could cause problems. In a sense, at points we have severe aesthetic tension.
A fairly useful case study to see how this affects characterisation is with Mozu in Fire Emblem Fates. Mozu is a charming character, a genial country bumpkin with a bit of an edge at times, who has fond memories of her hometown. This lines up with the lighthearted tone of her recruitment paralogue, where (checks notes) her entire village gets massacred by inhuman monsters, with her mother literally being murdered right in front of her, and she joins up with Corrin’s party because there is literally nothing left of her old life. I understand that people who experience extreme trauma do still manage to live meaningful lives, and that IntSys wouldn’t want to have a character who is a barely functional traumatised mess for 90% of the campaign. However, this doesn’t explain the sheer dissonance between the relatively normal and well-adjusted Mozu who quietly remembers her lost loved ones, and the fact that her village got My Lai’d a handful of weeks ago in the game’s timeline. IMO this would work a lot better if there were a few survivors (instead of literally everyone else dying), with Mozu actively choosing to leave her old life to help others instead of being forced to leave by circumstance. This reduction in scope would mitigate the dissonance between the character and what actually happens to her. This is by far the most extreme example in the series, however I’m sure you can think of others. My issue here is not with having ‘normal’ characters, or with them suffering tragedies, my issue is the dissonance between the two when viewing the scope of said tragedies. This is just one way the series wants to get into darker territory, then swiftly backing off instead of delving into the consequences.
This aesthetic restriction also affects the potential impact of dramatic scenes in the main story, limiting what the focus of these scenes can actually be. This little bit will involve heavy spoilers for Genealogy of the Holy War and Spec Ops: The Line (I KNOW THESE GAMES ARE VERY DIFFERENT WITH VERY DIFFERENT INTENDED DEMOGRAPHICS IN VERY DIFFERENT CULTURAL CONTEXTS, SHUT UP). Both have a very important narrative moment around their midpoints, involving fire magic/white phosphorus respectively. In each game, the deaths that occur are utterly horrific when you think about them. In FE4 the focus is on the drama of the plot twist and effects on the characters, with the actual effects of the violence being left to implication. We don’t know if this was the original intent of Kaga and the team, or if this was enforced by various tech- and publisher-related restrictions, but in either case we do not see anything explicit. In any case, in Spec Ops: The Line, the horror and graphic nature of the violence is completely inescapable, and therefore forms the core of the turning point of the story. The specifics of the violence itself are crucial - the game does not work if you don’t see the consequences of the white phosphorus - and it leads beautifully to the complete descent of its endgame. You may be saying “of course you couldn’t show that violence in FE, it’s a kids game” which is true, and in any case the scene in Genealogy is very good, even without showing the violence. I imagine if we get a remake in the year 202X we wouldn’t see anything explicit anyway, partially due to the publisher but also because the scene doesn’t necessarily need it. The point I am trying to make is that the aesthetics form a limitation on what Fire Emblem can explore, narrative space that the series fundamentally cannot reach.
One more thing, and this isn’t really about the games themselves but the impressions leading into them, and how the aesthetics can affect that. Do you guys remember when the intro cutscene of Three Houses was released a few weeks before release? I do, and I also remember the collective shock of the community when seeing the early previews. It was so drastically different to everything that had come before, and consequently was really intriguing - you can see a lot of speculation in the above comments. To clarify, I don’t want to pretend that 3H is some kind of super mature ultra gritty war story, or that blood = good game, but that beginning cutscene gave one hell of a first impression. Even though the game isn’t that much darker than any other FE game, the sheer unexpectedness put people off-kilter in a kinda awesome way. Does the game actually deliver? YMMV, but I think this (and some of the later cutscenes, such as the mid-game Dimitri one) work quite well. Sometimes, a little injection of harsher violence can go a long way.

Conclusion

Frankly I don’t really have a conclusion, sorry. As you can see, there are so many disparate strands, I can’t possibly make one grand thesis statement. Maybe the inherent contradictions of having warfare in a family friendly video game weakens the potential end result? I guess, but I don’t want to imply that what we have now is bad, as it is pretty good tbh. So, uhh…
…
OK, if I had to say something, it’s more about the process of making this. Having to try and think about how violence intersects with a video game you like takes you in a number of different directions. Ultimately, this process was really fulfilling for me, and I would recommend that you do the same (for FE or anything else)! Trying to analyse something you enjoy from a perspective not usually applied is pretty neat. If you guys have any thoughts (on the points above or your own), I’d be very interested to hear them!
Also, if people are interested, I’ll try to make a few case studies. I would focus on Thracia 776, Fates, and Three Houses, as (when thinking on this topic) I found that these games were consistently the most intriguing, with the most interesting relationships to violence. This would probably take a while though, as I am gonna be very busy in June, and I probably won’t have time this month either.

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Who Are We?

Paxmata is a decentralised platform designed to revolutionise property development through web3 technology. Our platform connects three key groups: the homeowner, the developer, and the investor.
Homeowners find trusted developers and funding to help bring their projects to life. Developers gain access to a marketplace of projects across the country, providing easy access to planning and opportunities to grow their business. Investors can explore a new, emerging market and gain access to a range of property development opportunities.

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With our peer-to-peer (P2P) lending system, investors can directly fund construction projects, offering homeowners more flexible financing opportunities. Whether you're a homeowner seeking funds or an investor looking for opportunities, our lending model opens new doors for growth and profitability.
Tokenisation of Projects & AI Integration:
Projects on Paxmata are transformed into erc-721 digital tokens, securely encapsulating all project data. Transferring projects and all associated project data is as simple as purchasing a token from Paxmatas' marketplace. Our AI integration allows users to generate complex project milestone outlines with a simple prompt. Once both parties, homeowners and developers, have agreed on a project timeline, milestones are batched and processed on-chain. Homeowners can manually update milestones and release escrowed funds accordingly, while our oracle system tracks deadlines and updates both parties automaticly.
SCORS – Helping You Make Informed Decisions:
The Smart Contract Objective Review System (SCORS) provides comprehensive ratings by combining objective and subjective assessments. Think of it as a neighbourhood watch for property ventures, where each user's reputation is openly available. Here's how it works: The SCOR system rates performance based on measurable criteria like milestone completion and contract adherence. Participants also provide subjective feedback based on their personal experiences working with others. By combining these objective and subjective scores, SCORS gives you a clear, comprehensive view of each participant's reliability and trustworthiness.
ZKP Dispute Resolution System – Fair and Private:
Disagreements can happen in any project. Paxmata's Zero-Knowledge Proof (ZKP) dispute resolution system aims to resolve disputes fairly while protecting sensitive information. The system verifies milestone completion and compliance without revealing confidential project details to our auditors. We encourage users to take part in the process and thoroughly explain the cryptography we leverage.

Newsletter Road Map

Over the coming weeks we'll dive deeper into Paxmata's unique features, like tokenisation, P2P lending, SCORS, ZKP dispute resolution, project badges and utility and equity tokens. Look out for detailed breakdowns and videos explaining how these features can transform your property development journey.

Join us as we journey to redefine property development.

Discord: https://discord.gg/HFV3xkDy
Telegram: https://t.me/+yOARVgf1iqljYjU0
LinkedIn: https://www.linkedin.com/company/paxmata/
X: PAXMATA
Best Regards,
Alexander Burge
Founder & CEO

This is my first time DMing a campaign, and I have decided to go the route of homebrewing my own world. I'm having a hard time actually building the foundations of the world, and was hoping for some advice or inspiration
I brainstormed some ideas about the world, but I just can't get past writer's block and feel stuck. Listed below are some of the ideas I have regarding some basic lore.

• Main religion is that of worshipping the sun and moon as gods.
• The oceans of the world are black like ink, and are what the Gods used to create life. (The life of men)
• The children of the 2 main Gods represent landscapes, such as mountains, the ocean, ect.
• The first life created by the Gods were dragons that became guardians of certain areas of the earth and are designed by the environment they inhabit, such as a Red Dragon protecting a volcano
• Some of the children aren't just landscapes but represent ideas such as hope, death, life, evil etc.

Overall I have a broad idea about the creation, but not how people interact with Gods or their children in forms of worship.
As for the actual world itself I'm having a hard time creating factions or just town building in general. I've watched some videos for how to create towns and cities, but am having a hard time for inspiration on where to put things, and creating geography for the world. I messed around on a fantasy map building site and randomly built a world outline, but that's all I got. I never realized how hard it is to actually world build lol.
I've only had one session so far with my group. In the encounter I had them start as level three and were all together underneath a colosseum as they were captured and sold into slavery to entertain the masses of lower nobility families that had been pushed away into exile by a paranoid king that was in power named Hagvard evil eye.
I had them in a cage under the colosseum that was lifted using gears to move them into position on like a Ferris wheel type contraption. On top of the floor was a trap door they came through. The colosseum had 60 foot walls high with a mote that was 20 feet across and secondary walls 80 feet high behind the mote with a couple of wizards 120 feet up using wall of force to keep the masses safe. The location was on the island in the bottom left corner of the map. Essentially it's Australia. They ended up fighting some Worgs, and winning. I put them back down to get a short rest, but they decided to escape even though I made the bottom of the colosseum have 12 human guards, and the cages of animals they were going to fight in the ring. I tried to make it player proof, but of course things go off rails.
I have nothing set up beyond this and pulled all of this out of my ass the day before the session. I have no actual caste system or towns set up besides this fighting arena.
Any advice or ideas would be great for inspiration, thank you in advance!

Hi! I’m working on a project with a few buddies of mine that’s more or less your typical fantasy tabletop game.
We’re past the idea stage of the project, and have the base system we want the game to be written down, and a good buddy of mine has begun posting some concept doodles over on his Twitter.
We’re looking to expand our team with people from pretty much all fields interested in developing a tabletop game as we get ready to launch a Kickstarter campaign.

For Programmers & 3D Modelers Interested in the Project:

We’re looking for people who can make some test footage of an app/website we can use in the Kickstarter campaign - particularly, we want to show off these aspects:
-A 3D CharacteMiniature creator adapting the style of our team’s artist, going for a more Anime/Dragon Quest inspired aesthetic, and using some of the character options that will be available in the game
-A customizable battle map you can display your miniatures and tokens on as the Gamemaster runs the encounter, showing off some the actions you can take in combat

For Writers and Game Devs Interested in the Project:

As I said above, we have an outline with all the rules, character options, and features we want to include in a document that’s about 69 pages(give or take) but it’s more of a skeleton as it currently stands, and we’d like to bring more people in to get feedback and expand on some of the base ideas we have.
In particular, we need:
-Writers with a grasp on history & religion to expand on the cultures and pantheons we have and help write lore and history for them
-Tabletop/RPG game devs to give feedback, and give their thoughts on what they like, what they don’t like, and possibly help in some areas that could use more work

For Artist & Animators Interested in the Project:

Our team Artist is going to be working on an animation to use for our Kickstarter Campaign while also making concept art for the game itself. We’re looking for people who can replicate his style, and either do more line work, shade or ‘digitally ink’ his pieces for a more classic RPG manual aesthetic in the concepts, storyboard, or do a sequence of animation for the trailer.
He’s a bit of a newbie when it comes to animation, so even just giving your input on pointers or tips and tricks you like to use would also be very helpful.

For Sound Designers and Voice Actors Interested in the Project:

We’re looking for people who can make some music along with the planned animation, make some sound effects for any potential programmers that join our team to use in the test footage, and VO’s to lend their voices for characters in the project’s animation.
If you want more details or have any questions, feel free to comment below or shoot me a DM. I’ll answer to the best of my ability when I receive your message.

SPONGEBOB SQUAREPANTS NUMEROLOGY DECODE

Since we all know exactly who and what Spongebob is, I am going to do a Numerology decode.
When it comes to Numerology, there are many different things you can look into. I am going to look into the letters, patterns, and Numerology personality numbers.
SPONGEBOB has a personality #6. 6 is the number of compassion, work ethic, criticism, cleanliness, and productivity. In the funny show, we see that Spongebob is a workaholic. He has a 5 destiny number which shapes who you are overall. 5 is connected to youthfulness which explains the silliness of the Spongebob character. He is always laughing and doing things funny. The 5 energy indicates this. 5 also points to people, places, and things that are unique. He has an 8 soul urge which explains his undying ambition and creativity.
We can see that SPONGEBOB has 2 O's which has the numeric energy of 15 and numeric value of 6. 15 is the creative use of energy for productivity. Again, 6 is the number of routine, work ethic and productivity goes with this. This energy is not only his personality number, but also it is within his name. It's really in him.
SPONGEBOB HAS DOUBLE NUMERIC VALUES IN HIS NAME WHICH ARE, 7,6,5, AND 2. This explains why he is able to show his emotions and have moments of sensitivity(2). Very compassionate(2) but also childish and silly(5) and able to come up with plans that work(7). Since these #s has double influence, we must considered what they equal. 7 twice equals 14/5 which shows how he is responsible and can make work fun even though it is a duty(6). 6 twice equals 12/3 which shows his social skills, life, and creativity. Another youthful energy as well. 5 twice equals 10/1 which points to his bravery and capability to take action. 2 twice equals 4 which is home,family,responsibility, and structure on the home front and he would make everyone feel comfortable for the most part.
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