Alton Towers, Sir Francis Bacon and the Rosicrucians

I got some photos from a commenter on your post MJF because when researching it I saw the amplification which seems evident that the comics of the 90s such as the powers rangers have parallels with the representations on the head of the possible hybrid Nephalim Bran the blessed and his relationship to the Grail I find it curious since the Cs have mentioned the influence of certain energies from within the earth that influence creative minds such as producers, etc. and why not comic artists!
Yes, I don't see why not. Comics have had a big cultural impact in the late 20th century and this has continued into the 21st century with Marvel and DC comic characters being brought to the movie screen and TV. What you are referring to is the army of psychic projectors who are mainly based in the underground bases within the Earth. They can project their thoughts directly into people's minds.

However, such comic book influences may go back much further. The man who really promoted NASA's the Face on Mars photograph was the science commentator Richard Hoagland. He subsequently discovered that a comic artist called Jack Kirby (who later did art work for Marvel comics) had produced a 1958 comic strip, which depicted astronauts encountering a huge sculpted face on Mars:
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Hoagland also found a set of 1950's slides or transparencies that you could pull through a handheld slide viewer called a Viewmaster, which told the story of the mysterious extinct race that had lived on Mars thousands of years earlier. Curiously, it was the Face on Mars that originally led me to this website.

Hoagland thought Kirby's story suggested that there was already some foreknowledge of the Face on Mars and the other Martian monuments at Cydonia even before the NASA Viking I satellite photographed the Face in 1976. This could be the case but I would not rule out the involvement of the underworld psychic projectors either.

I attach a link to a website where Kirby's comic strip is discussed: The Face Of Mars In 1958 Comic Book!, page 2

I think the following poster's comments may be along the right lines:

"Because the art work is oriented wrong doesn't take away from the compelling idea the artists and writers had. If this idea of a face on Mars is embedded in the psychology or genetic memories of some persons then it's possible that the conscious mind misinterpreted some of the information. In 1958 a face on Mars would have been a radical idea, so whomever came up with the idea could have awakened from a dream up with a start and starting writing the story as quickly as possible. There was nothing to compare the idea with, so it's entirely plausible that an artist or writer would think that all it was was an idea and not a deep seated memory or archetype of the subconscious."
 
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I was watching a video but it is in Spanish. I suggest that Bluegazer translate it for MJF since there may be keys that can help decipher the mystery. Here they talk about the portals that opened in Renees Le Chateau, the type of rituals they used and the presence of the Grail. bright..

I can't speak for Bluegazer and why he should translate this for MJF, thus, is there a particular reason why you 'suggested' it and could not do the translation work yourself, since you posted it and you appear to be Spanish speaking?

Members do not necessarily have a great deal of time to review every video posted, so it would be considering to all readers if you could at least describe what is being said rather than push it off on someone else.
 
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I was watching a video but it is in Spanish. I suggest that Bluegazer translate it for MJF

There is no need to do it. The video already incorporates subtitles and English translation. Just go to the settings.

I can't speak for Bluegazer and why he should translate for this for MJF, thus, is there a particular reason why you 'suggested' it and could not do the translation work yourself, since you posted it and appear to be Spanish speaking?

Members do not necessarily have a great deal of time to review every video posted, so it would be considering to all readers if you could at least describe what is being said rather than push it off on someone else.

Thank you Voyageur. :-)
 
Yes, I don't see why not. Comics have had a big cultural impact in the late 20th century and this has continued into the 21st century with Marvel and DC comic characters being brought to the movie screen and TV. What you are referring to is the army of psychic projectors who are mainly based in the underground bases within the Earth. They can project their thoughts directly into people's minds.

However, such comic book influences may go back much further. The man who really promoted NASA's the Face on Mars photograph was the science commentator Richard Hoagland. He subsequently discovered that a comic artist called Jack Kirby (who later did art work for Marvel comics) had produced a 1958 comic strip, which depicted astronauts encountering a huge sculpted face on Mars:
Hoagland also found a set of 1950's slides or transparencies that you could pull through a handheld slide viewer called a Viewmaster, which told the story of the mysterious extinct race that had lived on Mars thousands of years earlier. Curiously, it was the Face on Mars that originally led me to this website.

Hoagland thought Kirby's story suggested that there was already some foreknowledge of the Face on Mars and the other Martian monuments at Cydonia even before the NASA Viking I satellite photographed the Face in 1976. This could be the case but I would not rule out the involvement of the underworld psychic projectors either.

I attach a link to a website where Kirby's comic strip is discussed: The Face Of Mars In 1958 Comic Book!, page 2

I think the following poster's comments may be along the right lines:

"Because the art work is oriented wrong doesn't take away from the compelling idea the artists and writers had. If this idea of a face on Mars is embedded in the psychology or genetic memories of some persons then it's possible that the conscious mind misinterpreted some of the information. In 1958 a face on Mars would have been a radical idea, so whomever came up with the idea could have awakened from a dream up with a start and starting writing the story as quickly as possible. There was nothing to compare the idea with, so it's entirely plausible that an artist or writer would think that all it was was an idea and not a deep seated memory or archetype of the subconscious."
Further to my last post on Jack Kirby, I came across this short videos on his Face on Mars comic strip, which I quite interesting, as the hero astronaut experiences a vision of the past where he saw the Martians under attack from a race that came from the exploded planet that became the asteroid belt - that we planet we know as Kantek. He depicted the Martians as tall Aryan looking giants and as a highly advance society. He gleans that the occupants of the exploded planet were so evil they brought around their planet's destruction. Hmmm ... where have we heard that before?


Perhaps the answer to where Kirby got his ideas for the story from lie here:

So we have three elements that we need to sort out here:
• First, is Kirby's overwhelming obsession with aliens, UFOs and ancient astronauts. Despite what a lot of people might think this is unusual for comic book artists and sci-fi writers, who tend to cleave to a materialist/reductionist worldview.

• Second, is what we can only call paranormal phenomena, a consistent and repeated tendency to predict future events in allegorical form. Kirby was also obsessed with paranormal phenomena himself, and wrote stories about Nostradamus, psychics prophetic dreams and all the rest of it.

Kirby wrote a semi-autobiographical story about a remote viewer (that we looked at here), that I thought was particularly remarkable since Kirby's methods were identical to the Stanford RVs; sit in an isolated room, reach deep into the unconscious mind and draw. Kirby repeatedly said that he simply traced what he visualized on the paper, a fact repeatedly confirmed by people who watched him draw (essentially like an inkjet printer, drawing from upper left to lower right, with very few construction lines).

It's worth noting here that rumours circulated that RVs had previously drawn the Mars Face before the Viking mission (which was why Cydonia was targeted for an overfly), and that SRI view Joe McMoneagle later sketched the Face ( I prefer Kirby's version, naturally)

For more see: Mindbomb: John Carter, PKD and "The Face on Mars"
 
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Continuing with Jack Kirby (I inadvertently posted the last post before I had time to finish it :-)), it does seem that he may have been influenced by the underworld's army of psychic projectors to produce these really "out there" stories, which were published at the dawn of the space age. The writer of the piece I posted the link to made an interesting comparison between Kirby and the famous sci-fi writer Philip K Dick, which suggests Dick may also have been influenced by them:​

• Lastly, Kirby has a lot in common with another Hollywood obsession who lived his life in relative obscurity (and poverty, in Dick's case) but changed the way science fiction stories were told: Philip K Dick.

Dick was 11 years younger than Kirby but they both immersed themselves in the same kind of pulp sci-fi from an early age. Like Kirby, Dick was frighteningly prolific. This can't be underestimated, although in both men's cases, economic pressures were as much a driving force as creative obsession.

I've long felt there's a transformative power in that kind of creative commitment, as if the harder you work the deeper you often go (Max Ernst and Alan Moore are other examples of this).

But the transformation is more subtle and elusive. It's as if the creator reaches a state in which creativity pierces a boundary most of us never realize exists. At the other side are entities which wait to communicate with those who've earned the right to do so. With Ernst and Moore, those entities are transformed into whimsical trickster figures, Loplop and Glycon. With Kirby and Dick there seemed to be an obsession with communication with alien entities, usually by means of telepathy.

Kirby kept this all in the realm of fiction, but Dick obviously did not. We have no way of gauging whether there was any objective truth to these entities, other than the results of this contact.

After Dick's contact experience in 1974, he became [
began?] to slowly recover from a lost decade of drugs and madness. Dick even claimed [sic] this entity with diagnosing a dangerous condition in his young son in time to have it treated before it killed him.

Kirby kept all his alien telepathy stories in the funny pages but concurrent with his high weirdness obsessions was a remarkable development in his draftsmanship and his creativity.

A "man possessed" would not be too strong a term to describe Kirby in the 1960s. He was as prolific in his page count as he was in character creation, designing heroes still topping the sales charts today. Stan Lee might have been the driver but Kirby was undoubtedly the engine behind The Fantastic Four, The Hulk, Thor, The X-Men, The Avengers and even had a hand in the development of Spider-Man, Iron Man and Doctor Strange.

Not bad for a "has-been" who no one would hire just a few years before. It seems there is something transformative at work, whether you want to chalk it up to psychological forces, or whether you see a deeper reality at work.

What can't be argued with are the results. Whatever forces were at work they are still very much alive in one of the last vestiges of pop culture that still manages to inspire and uplift.


Well one certainly has to admit that Marvel's Avengers and X-Men movies have been phenomenally successful in recent years. They may be pop corn culture but how much subtle conditioning of the masses has occurred in the same manner as the C's described in relation to the original Independence Day movie:

Session 21 September 1996:

Q: (T) Is there any significance to the ID4 movie?

A: Sure.

Q: (L) What was the primary intention of the makers of this movie? The primary message that they attempted to convey?

A: Infuse thinking patterns with [planchette swirled a few times here] concept of aliens.

Q: (L) They intended to infuse thinking patterns with concept of aliens... was there any particular slant on aliens, per se, that was seen as desirable in the making of this movie?

A: Slant?

Q: (L) Slant, in other words, did they wish to present them inaccurately to confuse people, to present them as something to be feared and fought against, or to make them appear so completely erroneous, so that when actual aliens do appear, that they will not be perceived as negative?

A: Infuse.

Q: (L) Infuse. Just the concept, the concept of aliens in general. OK...

A: Part of a larger project.

Q: (L) And what is this project?

A: Called "Project Awaken."

Q: (L) And who is behind, or in charge of, this project?

A: Many.

Q: (L) Who are the primary group, groups or individuals? I'm sure you're not going to give us individuals, but just the grouping.

A: Thor's Pantheum.

Q: (L) And what is Thor's Pantheum?

A: Subselect trainees for transfer of enlightenment frequency graduation.

Q: (L) What is enlightenment frequency graduation?

A: Think!

Q: (L) Enlightenment frequency graduation... so, subselect trainees...

A: Self explanatory.

Q: (L) Well, is this group STS or STO?

A: Both.

Q: (L) OK... (T) Are they working at cross purposes?

A: No.

Q: (T) They're working together? Bipartisan?

A: No.

Q: (J) Are they aware of each other? Working on this?

A: Yes.

Q: (J) Are they screwing each other up? (L) No, that's going in the wrong direction...

A: There is more to all of this than you could dream.

Q: (T) There's more to all of this...were you referring to... Who are they? Thor's Pantheum. And they're subselect trainees...That's the group behind this movie; OK...

A: An army of Aryan psychic projectors.

Q: (T) Well, that explains a lot more than Thor's Pantheum of subselect trainees! An army of psychic projectors. (L) And what do they project?

A: Themselves... Right in to one's head.


Did they project themselves right into the heads of Jack Kirby and Philip K Dick?

It is curious that the C's should call this subterranean army of Aryan psychic projectors Thor's Pantheum, presumably after the fierce magic hammer wielding mythological Norse god of thunder, since Jack Kirby was responsible for drawing and Stan Lee for writing the Thor comic book series, which depicted the Norse god as the alter ego of mild mannered American Donald Blake (similar to how reporter Clark Kent is the human alias of Superman) but who was in reality the Norse god exiled to Earth by his father Odin as a punishment with his memory wiped. The comic book character of Thor, played amusingly in the Thor and Avengers movies by Australian actor Chris Hemsworth, can in some ways be viewed as a modern day equivalent of the Greek superman Heracles (the Roman Hercules) or the Sumerian strongman Gilgamesh both of whom could possibly have represented ancient Nephilim hybrids like the giant Goliath in the Bible.

Many of the modern comic book superheroes are mutants like the X-Men, the Famous Four or the characters in the TV series Heroes who gain their super powers through genetic mutations. Others gain their super powers by some sort of freak accident involving radioactivity like the Hulk, Peter Parker as Spiderman and Captain Marvel. If such comic book characters were inspired by these Aryan psychic projectors, who you will note are a mixture of STO and STS types, what were they hoping to gain by it? Could it be that when Aryan members of the subterranean civilisation emerge as would be saviours upon the surface world, people will have a point of reference from these movies and TV shows and view them as superheroes? On the STO side of things, could the mutant heroes like Wolverine or Peter Parker/Spiderman be depicting STO orientated people who will gain super powers after the upcoming transition to 4th density:
Session 4 July 2009:

Q: (L) Okay, enough on that. Next? (A**) I was gonna ask about Chaco Canyon. What was it built for?

A: Gathering place for those of unusual abilities.

Q: (A***) Did anybody actually live there?

A: More like a "conference centre."

Q: (A**) So what happened to the people that used it?

A: Change of cosmic environment followed by earthly difficulties such as famine, climate etc.

Q: (J) What kind of things did those people with unusual abilities do when they gathered together?

A: Well, levitate, for one; direct manifestation for another; and "travel".
[MJF: cf. the DC comics characters the Flash who can travel fast at amazing speeds and Superman who can levitate and fly through the air]

Q: (Allen) So, could they travel from one spot on the planet to another?

A: Yes.

Q: (A*l) Could they teleport?

A: Yes.

Q: (J) Teleport... These weren't your average human beings then. (laughter)

A: No not exactly, but it wasn't the same environment you currently enjoy either.

Q: (A**) Where did these people come from?

A: Remnant Atlanteans. Descendants for the word sticklers.

Q: (L) I think that's because once, somebody made a big deal out of them saying "remnants of Atlantis" and they meant descendants. (A*l) Do they mean that if our environment wasn't so polluted that we could have super powers? (L) They said "cosmic environment".

A: Gravity is different now.

Q: (A*l) What happened to gravity? How'd it change?

A: Travels of the solar system through space. You are heading for another such change soon.


Q: (A*l) Are we going to become super again?

A: Some will.


Anyway, much food for thought.
 
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