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Pounding this BBL demon slut in deep backshots, her fat ass clapping while her creamy pussy creams heavy all over my thick lightskin dick—thick white froth dripping everywhere as she screams for more. Filthy demon whore getting that wet creamy macaroni pussy beat!!!;) #Backshots #BBL #PussyCream #DemonSlut #RoughSex #NSFW...

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sackpipez

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227,251 Aufrufe • vor 1 Monat •via X (Twitter)

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This hot, trashy American blonde slut lights up in the backseat of a taxi. She's clearly high as a kite, and explains that she just got done "filling up the paint can", and is off to have "dinner" now; that's some "meating" where she's gonna be "feeding the mouth". We can all guess the profession with which she supports her druggy habits. Just listen how she moans with pleasure as she pumps that first inhale into her addicted lungs; she clearly needs that relaxing ciggie after filling up her paint can. Then, after a second inhale, she does a massive exhale while showing us just how amazing her slutty mouth truly is. She's stuck just about everything in there known to man; cigarettes, meth pipes, oxy's, and loads of hot beef. And which guy wouldn't wanna feed her his meat when she opens up like that! Just imagine that tongue piercing rubbing against your shaft while you're balls-deep inside of her. And she just doesn't stop; doing one deep inhale after another, holding her ciggie between her fingers and showing off her silver space nails. Then we get even more action from that super hot, slutty ashtray mouth. First the creamy white smoke she held in her mouth comes out, and then she exhales the smoke that was deep inside her lungs. You hear the taxi driver coughing at one point; he's clearly struggling. Oh man, this hot white trash slut is just such unbelievable fun! This is the girlfriend I truly want; getting high and watching her smoke all day, filling her paint can to the brim and feeding that hot mouth all the meat she can take. #smokingblonde #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #smokinginthecar #lightingup #deepinhale #openmouthexhale #hotmouth #sluttymouth #sexymouth #tonguepiercing #slut #trashygirl #whitetrash #hooker #prostitute #high #drugged #druggie #coolgirl #hotgirl #sexygirl #americangirl #americansmoker
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This hot, trashy American blonde slut lights up in the backseat of a taxi. She's clearly high as a kite, and explains that she just got done "filling up the paint can", and is off to have "dinner" now; that's some "meating" where she's gonna be "feeding the mouth". We can all guess the profession with which she supports her druggy habits. Just listen how she moans with pleasure as she pumps that first inhale into her addicted lungs; she clearly needs that relaxing ciggie after filling up her paint can. Then, after a second inhale, she does a massive exhale while showing us just how amazing her slutty mouth truly is. She's stuck just about everything in there known to man; cigarettes, meth pipes, oxy's, and loads of hot beef. And which guy wouldn't wanna feed her his meat when she opens up like that! Just imagine that tongue piercing rubbing against your shaft while you're balls-deep inside of her. And she just doesn't stop; doing one deep inhale after another, holding her ciggie between her fingers and showing off her silver space nails. Then we get even more action from that super hot, slutty ashtray mouth. First the creamy white smoke she held in her mouth comes out, and then she exhales the smoke that was deep inside her lungs. You hear the taxi driver coughing at one point; he's clearly struggling. Oh man, this hot white trash slut is just such unbelievable fun! This is the girlfriend I truly want; getting high and watching her smoke all day, filling her paint can to the brim and feeding that hot mouth all the meat she can take. #smokingblonde #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #smokinginthecar #lightingup #deepinhale #openmouthexhale #hotmouth #sluttymouth #sexymouth #tonguepiercing #slut #trashygirl #whitetrash #hooker #prostitute #high #drugged #druggie #coolgirl #hotgirl #sexygirl #americangirl #americansmoker

Smoking girl lover

841,281 Aufrufe • vor 3 Monaten

Made this cinematic sequence using Seedance 2.5 The realism, camera movements, water physics, explosions, and intense atmosphere are on another level. AI video generation is getting seriously cinematic. Prompt ⤵️ Create a 30-second ultra-realistic cinematic disaster sequence with a dark, intense, Hollywood-blockbuster atmosphere. Main character: A young woman with short, messy dark hair, wearing a soaked white T-shirt and light-colored shorts. Keep her appearance consistent throughout the entire video. Her face should remain realistic and expressive, showing fear, shock, exhaustion, and determination. Scene 1 — 0–5 seconds: Open with an extreme close-up of the woman running toward the camera through a dark industrial shipping yard at night. Heavy rain is falling, her hair and clothes are completely wet, and she is breathing heavily. Behind her, bright industrial lights glow through thick smoke and mist. The camera moves backward smoothly while maintaining focus on her face. Add realistic rain droplets on the camera lens, dramatic backlighting, atmospheric fog, and handheld cinematic movement. Scene 2 — 5–10 seconds: Cut to a wider shot as she runs through the flooded container yard. Large shipping containers surround her, emergency lights flash in the distance, and explosions/fire erupt behind her. She looks over her shoulder in panic while continuing to run. Water splashes dramatically around her legs with every step. Use realistic fire, smoke, debris, rain, and volumetric lighting. Scene 3 — 10–15 seconds: She suddenly loses her balance and falls into the flooded ground. Show the impact in slow motion for a moment, with water splashing around her. She quickly pushes herself back up while terrified people run in the background. A massive wave of smoke, debris, and water moves through the shipping yard behind them. Use a low-angle camera close to the ground for a powerful disaster-movie perspective. Scene 4 — 15–21 seconds: She gets back on her feet and starts sprinting toward safety. The camera tracks alongside her at high speed. Containers shake, debris flies through the air, vehicles and objects are pushed around by the powerful force behind her. Keep her face and body consistent. Alternate between close-ups of her frightened expression and wide shots showing the enormous scale of destruction. Scene 5 — 21–25 seconds: She reaches a large modern building filled with terrified people. The camera follows her inside as everyone rushes toward safety. People are falling, crawling, and helping each other while water and debris can be seen outside through the entrance. The lighting changes from cold blue-gray exterior lighting to dramatic warm interior lighting. Scene 6 — 25–30 seconds: Suddenly transition to a massive luxury yacht in the middle of a violent ocean. Huge dark waves surround the vessel under a stormy sky. The camera starts behind the yacht and slowly reveals an enormous shark-like sea creature emerging from the ocean directly behind it, creating a terrifying final reveal. The creature rises through the waves with water cascading from its body. End with a gigantic wave crashing toward the yacht. Visual style: photorealistic Hollywood disaster film, cinematic color grading, realistic skin texture, physically accurate water and rain, volumetric fog, dramatic practical lighting, realistic fire and smoke, detailed environments, natural motion blur, shallow depth of field, dynamic camera movement, high contrast, atmospheric storm clouds, extremely detailed CGI, 4K cinematic quality. Camera: mixture of handheld close-ups, smooth tracking shots, wide establishing shots, low-angle disaster shots, slow-motion impact moments, and dramatic aerial/wide shots. Sound design: heavy rainfall, thunder, distant explosions, sirens, screaming crowds, footsteps splashing through water, crashing metal, deep cinematic bass, roaring waves, and an intense rising orchestral score that builds toward the final creature reveal.
0:30

Made this cinematic sequence using Seedance 2.5 The realism, camera movements, water physics, explosions, and intense atmosphere are on another level. AI video generation is getting seriously cinematic. Prompt ⤵️ Create a 30-second ultra-realistic cinematic disaster sequence with a dark, intense, Hollywood-blockbuster atmosphere. Main character: A young woman with short, messy dark hair, wearing a soaked white T-shirt and light-colored shorts. Keep her appearance consistent throughout the entire video. Her face should remain realistic and expressive, showing fear, shock, exhaustion, and determination. Scene 1 — 0–5 seconds: Open with an extreme close-up of the woman running toward the camera through a dark industrial shipping yard at night. Heavy rain is falling, her hair and clothes are completely wet, and she is breathing heavily. Behind her, bright industrial lights glow through thick smoke and mist. The camera moves backward smoothly while maintaining focus on her face. Add realistic rain droplets on the camera lens, dramatic backlighting, atmospheric fog, and handheld cinematic movement. Scene 2 — 5–10 seconds: Cut to a wider shot as she runs through the flooded container yard. Large shipping containers surround her, emergency lights flash in the distance, and explosions/fire erupt behind her. She looks over her shoulder in panic while continuing to run. Water splashes dramatically around her legs with every step. Use realistic fire, smoke, debris, rain, and volumetric lighting. Scene 3 — 10–15 seconds: She suddenly loses her balance and falls into the flooded ground. Show the impact in slow motion for a moment, with water splashing around her. She quickly pushes herself back up while terrified people run in the background. A massive wave of smoke, debris, and water moves through the shipping yard behind them. Use a low-angle camera close to the ground for a powerful disaster-movie perspective. Scene 4 — 15–21 seconds: She gets back on her feet and starts sprinting toward safety. The camera tracks alongside her at high speed. Containers shake, debris flies through the air, vehicles and objects are pushed around by the powerful force behind her. Keep her face and body consistent. Alternate between close-ups of her frightened expression and wide shots showing the enormous scale of destruction. Scene 5 — 21–25 seconds: She reaches a large modern building filled with terrified people. The camera follows her inside as everyone rushes toward safety. People are falling, crawling, and helping each other while water and debris can be seen outside through the entrance. The lighting changes from cold blue-gray exterior lighting to dramatic warm interior lighting. Scene 6 — 25–30 seconds: Suddenly transition to a massive luxury yacht in the middle of a violent ocean. Huge dark waves surround the vessel under a stormy sky. The camera starts behind the yacht and slowly reveals an enormous shark-like sea creature emerging from the ocean directly behind it, creating a terrifying final reveal. The creature rises through the waves with water cascading from its body. End with a gigantic wave crashing toward the yacht. Visual style: photorealistic Hollywood disaster film, cinematic color grading, realistic skin texture, physically accurate water and rain, volumetric fog, dramatic practical lighting, realistic fire and smoke, detailed environments, natural motion blur, shallow depth of field, dynamic camera movement, high contrast, atmospheric storm clouds, extremely detailed CGI, 4K cinematic quality. Camera: mixture of handheld close-ups, smooth tracking shots, wide establishing shots, low-angle disaster shots, slow-motion impact moments, and dramatic aerial/wide shots. Sound design: heavy rainfall, thunder, distant explosions, sirens, screaming crowds, footsteps splashing through water, crashing metal, deep cinematic bass, roaring waves, and an intense rising orchestral score that builds toward the final creature reveal.

Noor 🌸

23,233 Aufrufe • vor 29 Tagen

This is real footage of Zeros taking off from the deck of the Akagi. For half a year, this single ship was the most successful aircraft carrier on Earth. Its planes struck Pearl Harbor, Darwin, and Ceylon, and it never lost. Then, in a few minutes, she was doomed. This is the story of the Akagi.. ⠀ From Battlecruiser to Flagship The Akagi, named after Mount Akagi in Japan, was not even meant to be a carrier. She was laid down as a massive battlecruiser, but a naval treaty in the 1920s halted her construction. Rather than scrap the enormous hull, Japan rebuilt her into an aircraft carrier, one of the largest in the world. By 1941 she had become the flagship of the Kido Butai, the First Air Fleet. This was the most powerful concentration of naval air power on the planet, six aircraft carriers operating together as a single striking fist, something no other navy had ever done. From her deck, Admiral Chuichi Nagumo commanded the whole force. When Japan decided to open the war with a knockout blow against the United States, it was the Akagi that led the way. The Carrier That Led Japan's Offensive On the morning of December 7 1941, the Akagi sat in the dark waters north of Hawaii, and launched her aircraft toward Pearl Harbor. Her torpedo bombers helped tear apart the American battleship fleet as it lay at anchor. The man who led the entire air attack, Mitsuo Fuchida, flew from her deck. The Akagi was, quite literally, the ship from which America's war began. And she was just getting started. Over the next several months, the Akagi and her sister carriers went on a rampage across a third of the globe. In January they struck Rabaul. In February they fell upon the Australian city of Darwin, launching a devastating surprise raid that sank eight ships and became known as Australia's Pearl Harbor. ⠀ Across the Indian Ocean Then they turned west, into the Indian Ocean. In the spring of 1942 the Kido Butai swept toward Ceylon, hunting the British Eastern Fleet. Akagi's aircraft helped sink British warships, including the heavy cruisers Cornwall and Dorsetshire, and sent the Royal Navy reeling out of the eastern Indian Ocean entirely. In just half a year, the aircraft launched from that deck had struck Hawaii, the Dutch East Indies, Australia, and Ceylon. They had helped sink American, British, and Australian ships across thousands of miles of ocean. The Akagi had not lost a single battle. She was the most successful and most feared aircraft carrier in the world, the flagship of a force that seemed unstoppable. It would all end on one morning in June. The Battle of Midway In June 1942, the Akagi led the Kido Butai toward a tiny American outpost called Midway. The plan was to seize the island and destroy what was left of the American carrier fleet. But the Americans had broken the Japanese codes. They knew the Akagi and her sisters were coming, and they were waiting. On the morning of June 4, the battle turned into chaos. The Japanese carriers had just fought off waves of American attacks, and below the flight deck the Akagi's hangars were packed with aircraft being frantically rearmed and refueled, fuel lines and bombs lying everywhere. It was the most dangerous possible moment to be caught. And at that exact moment, American dive bombers rolled in out of the sky, unseen until it was too late. ⠀ One Bomb A lookout screamed a warning. Then the bombs fell. The Akagi was struck by a single bomb from an American dive bomber, dropped by Lieutenant Richard Best, while near misses battered her hull and jammed her rudder. Just one direct hit. But it struck in the worst possible place, punching down into the hangar deck packed with armed, fueled aircraft. The explosion set off a chain reaction. Fires roared through the ship, feeding on the fuel and detonating the bombs stacked among the planes. Within minutes the pride of the Japanese fleet was doomed, a spreading inferno no one could control. The flagship that had conquered half an ocean was mortally wounded by one well-aimed bomb. Admiral Nagumo was forced to abandon his burning flagship and transfer his command to another ship. The Akagi was left blazing, unnavigable, circling helplessly. The End of the Akagi The Akagi burned all day and into the night. Unable to save her, and unwilling to let her fall into American hands, the Japanese ordered her own destroyers to sink her. In the early hours of June 5 1942, torpedoes from her escorts sent her to the bottom. She went down bow first. 267 of her crew died with her. She did not go alone. All four Japanese carriers at Midway, every one of them a veteran of Pearl Harbor, were sunk in the same battle, taking with them their irreplaceable aircraft and elite crews. It was the turning point of the entire Pacific war. Japan would never recover the initiative. For over 75 years, the Akagi lay lost in the dark. Then in 2019 her wreck was finally found, more than 17,000 feet down, and in 2023 a robot submarine descended to look upon her for the first time since she sank. The most successful carrier in the world, resting in the deep, where a few fatal minutes sent her. This was the story of the Akagi. I post a story like this every single day. Most people never see them. Follow so you don't miss the next one.
0:39

This is real footage of Zeros taking off from the deck of the Akagi. For half a year, this single ship was the most successful aircraft carrier on Earth. Its planes struck Pearl Harbor, Darwin, and Ceylon, and it never lost. Then, in a few minutes, she was doomed. This is the story of the Akagi.. ⠀ From Battlecruiser to Flagship The Akagi, named after Mount Akagi in Japan, was not even meant to be a carrier. She was laid down as a massive battlecruiser, but a naval treaty in the 1920s halted her construction. Rather than scrap the enormous hull, Japan rebuilt her into an aircraft carrier, one of the largest in the world. By 1941 she had become the flagship of the Kido Butai, the First Air Fleet. This was the most powerful concentration of naval air power on the planet, six aircraft carriers operating together as a single striking fist, something no other navy had ever done. From her deck, Admiral Chuichi Nagumo commanded the whole force. When Japan decided to open the war with a knockout blow against the United States, it was the Akagi that led the way. The Carrier That Led Japan's Offensive On the morning of December 7 1941, the Akagi sat in the dark waters north of Hawaii, and launched her aircraft toward Pearl Harbor. Her torpedo bombers helped tear apart the American battleship fleet as it lay at anchor. The man who led the entire air attack, Mitsuo Fuchida, flew from her deck. The Akagi was, quite literally, the ship from which America's war began. And she was just getting started. Over the next several months, the Akagi and her sister carriers went on a rampage across a third of the globe. In January they struck Rabaul. In February they fell upon the Australian city of Darwin, launching a devastating surprise raid that sank eight ships and became known as Australia's Pearl Harbor. ⠀ Across the Indian Ocean Then they turned west, into the Indian Ocean. In the spring of 1942 the Kido Butai swept toward Ceylon, hunting the British Eastern Fleet. Akagi's aircraft helped sink British warships, including the heavy cruisers Cornwall and Dorsetshire, and sent the Royal Navy reeling out of the eastern Indian Ocean entirely. In just half a year, the aircraft launched from that deck had struck Hawaii, the Dutch East Indies, Australia, and Ceylon. They had helped sink American, British, and Australian ships across thousands of miles of ocean. The Akagi had not lost a single battle. She was the most successful and most feared aircraft carrier in the world, the flagship of a force that seemed unstoppable. It would all end on one morning in June. The Battle of Midway In June 1942, the Akagi led the Kido Butai toward a tiny American outpost called Midway. The plan was to seize the island and destroy what was left of the American carrier fleet. But the Americans had broken the Japanese codes. They knew the Akagi and her sisters were coming, and they were waiting. On the morning of June 4, the battle turned into chaos. The Japanese carriers had just fought off waves of American attacks, and below the flight deck the Akagi's hangars were packed with aircraft being frantically rearmed and refueled, fuel lines and bombs lying everywhere. It was the most dangerous possible moment to be caught. And at that exact moment, American dive bombers rolled in out of the sky, unseen until it was too late. ⠀ One Bomb A lookout screamed a warning. Then the bombs fell. The Akagi was struck by a single bomb from an American dive bomber, dropped by Lieutenant Richard Best, while near misses battered her hull and jammed her rudder. Just one direct hit. But it struck in the worst possible place, punching down into the hangar deck packed with armed, fueled aircraft. The explosion set off a chain reaction. Fires roared through the ship, feeding on the fuel and detonating the bombs stacked among the planes. Within minutes the pride of the Japanese fleet was doomed, a spreading inferno no one could control. The flagship that had conquered half an ocean was mortally wounded by one well-aimed bomb. Admiral Nagumo was forced to abandon his burning flagship and transfer his command to another ship. The Akagi was left blazing, unnavigable, circling helplessly. The End of the Akagi The Akagi burned all day and into the night. Unable to save her, and unwilling to let her fall into American hands, the Japanese ordered her own destroyers to sink her. In the early hours of June 5 1942, torpedoes from her escorts sent her to the bottom. She went down bow first. 267 of her crew died with her. She did not go alone. All four Japanese carriers at Midway, every one of them a veteran of Pearl Harbor, were sunk in the same battle, taking with them their irreplaceable aircraft and elite crews. It was the turning point of the entire Pacific war. Japan would never recover the initiative. For over 75 years, the Akagi lay lost in the dark. Then in 2019 her wreck was finally found, more than 17,000 feet down, and in 2023 a robot submarine descended to look upon her for the first time since she sank. The most successful carrier in the world, resting in the deep, where a few fatal minutes sent her. This was the story of the Akagi. I post a story like this every single day. Most people never see them. Follow so you don't miss the next one.

Untold War Stories

69,588 Aufrufe • vor 2 Monaten

Bitch, I do not play about eighth grade star aka opinions based girl….. yeah everybody’s laughing now, but it literally does not take away the fact that you are so fucking ugly like I had his ass blocked on my old account before I even saw this because every time he pops up on my for you page I just have to scroll because he’s so fucking ugly that it pisses me off he looks like he could be casted on Netflix and not in a good way. He seriously needs to find a new haircut because what the fuck is that middle part? and of course he’s a Nepo baby, and the best part is I just found out that he used to be fat, I bet he’s an anorexic asf lowkey all shade and that’s the only way his pathetic ass could lose weight and I know he didn’t use laxatives cause he’s definitely a bottom, the type that one bitch from White Lotus would say as a fem and NOT a butch. You can tell he wants to be Matthew from big mouth but he’s more of a Charlie from heartstopper, you can also tell that he’s never got his ass beat, well maybe once in middle school and then his white ass republican parents freaked the fuck out and got the kid suspended or some shit. Of course he’s obsessed with Diet Coke, he’s so obviously wants to be a white woman that it is embarrassing. Middle schoolers definitely go up to him and be like “oh my God you’re famous on TikTok” and he thinks he’s the shit but the rest of the population don’t give a fuck and the way his mom is a teacher…… I know that she probably yells at the fucking class for everything but really she’s just taking it out on these kids because she knows deep down that she wishes her son was like them instead of a fucking loser who makes strawberry bagels on TikTok not to mention everybody praised him for doing angel tree, bitch that’s nothing he probably just used some of his allowance money to look like a good person so y’all bitches would suck his dick. Omg in all of his fucking videos he tries to sound cute with that feminine ass voice and it gives me a secondhand embarrassment down. he thinks he’s Troye Sivan, but he will never admit that he probably listens to fucking country music and Taylor Swift so he can fit in with all of his Christian girl friends and that’s it. You can tell he peaked in high school. He was definitely the “token gay” and the homophobic straight boys loved him because he was “funny“ but it was all surface level, TikTok humor that seems funny to them. of course he reposted something about drinking on antidepressants. Just because you had a white claw and some lexapro(which explains why he used to be fat as fuck) doesn’t make you whatever a fucking vibe you’re trying to go for. He looks like he jerks off to the Lululemon maternity catalog while pretending he’s Harry Styles. I saw on TikTok that he has a girlfriend and I can’t tell if it’s just for attention or if he’s actually still dl so that his parents don’t freak the fuck out on him and he has to get a real job. This one girl posted him on TikTok, shaking his hips and drinking wine…… like who do you think you fucking are bro? like genuinely who the fuck do you think you are?🔑 he also reposted a TikTok about Lorde “looking a mess” I really don’t give a fuck if it was a joke. You have no place to be talking about somebody’s looks when he looks like that……. and y’all know what I mean, the type of guy who fucks all the dl in the room because he has zero confidence. The type of guy who has all the latest Apple products for no reason. I mean seriously he looks like he eats fucking rocks. Apparently he caused a lot of drama on TikTok (of course) and blamed his OCD like what kind of dumb ass excuse is that but then again he probably asked his mom what to say and then she sent him a script and he went with it. Somebody keeps on copying his videos and it’s pissing him off. I think it’s so hilarious…… you realize you’re just another copy and paste of every other wanna be “ influencer”. Don’t ever try coming for eighth grade start again.🔑🔑
0:25

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Bitch, I do not play about eighth grade star aka opinions based girl….. yeah everybody’s laughing now, but it literally does not take away the fact that you are so fucking ugly like I had his ass blocked on my old account before I even saw this because every time he pops up on my for you page I just have to scroll because he’s so fucking ugly that it pisses me off he looks like he could be casted on Netflix and not in a good way. He seriously needs to find a new haircut because what the fuck is that middle part? and of course he’s a Nepo baby, and the best part is I just found out that he used to be fat, I bet he’s an anorexic asf lowkey all shade and that’s the only way his pathetic ass could lose weight and I know he didn’t use laxatives cause he’s definitely a bottom, the type that one bitch from White Lotus would say as a fem and NOT a butch. You can tell he wants to be Matthew from big mouth but he’s more of a Charlie from heartstopper, you can also tell that he’s never got his ass beat, well maybe once in middle school and then his white ass republican parents freaked the fuck out and got the kid suspended or some shit. Of course he’s obsessed with Diet Coke, he’s so obviously wants to be a white woman that it is embarrassing. Middle schoolers definitely go up to him and be like “oh my God you’re famous on TikTok” and he thinks he’s the shit but the rest of the population don’t give a fuck and the way his mom is a teacher…… I know that she probably yells at the fucking class for everything but really she’s just taking it out on these kids because she knows deep down that she wishes her son was like them instead of a fucking loser who makes strawberry bagels on TikTok not to mention everybody praised him for doing angel tree, bitch that’s nothing he probably just used some of his allowance money to look like a good person so y’all bitches would suck his dick. Omg in all of his fucking videos he tries to sound cute with that feminine ass voice and it gives me a secondhand embarrassment down. he thinks he’s Troye Sivan, but he will never admit that he probably listens to fucking country music and Taylor Swift so he can fit in with all of his Christian girl friends and that’s it. You can tell he peaked in high school. He was definitely the “token gay” and the homophobic straight boys loved him because he was “funny“ but it was all surface level, TikTok humor that seems funny to them. of course he reposted something about drinking on antidepressants. Just because you had a white claw and some lexapro(which explains why he used to be fat as fuck) doesn’t make you whatever a fucking vibe you’re trying to go for. He looks like he jerks off to the Lululemon maternity catalog while pretending he’s Harry Styles. I saw on TikTok that he has a girlfriend and I can’t tell if it’s just for attention or if he’s actually still dl so that his parents don’t freak the fuck out on him and he has to get a real job. This one girl posted him on TikTok, shaking his hips and drinking wine…… like who do you think you fucking are bro? like genuinely who the fuck do you think you are?🔑 he also reposted a TikTok about Lorde “looking a mess” I really don’t give a fuck if it was a joke. You have no place to be talking about somebody’s looks when he looks like that……. and y’all know what I mean, the type of guy who fucks all the dl in the room because he has zero confidence. The type of guy who has all the latest Apple products for no reason. I mean seriously he looks like he eats fucking rocks. Apparently he caused a lot of drama on TikTok (of course) and blamed his OCD like what kind of dumb ass excuse is that but then again he probably asked his mom what to say and then she sent him a script and he went with it. Somebody keeps on copying his videos and it’s pissing him off. I think it’s so hilarious…… you realize you’re just another copy and paste of every other wanna be “ influencer”. Don’t ever try coming for eighth grade start again.🔑🔑

Travis🦋

93,592 Aufrufe • vor 5 Monaten

On a recent episode of his show on The Blaze, propagandist Auron MacIntyre, who lies about me widely, maliciously, and as frequently as breathing, talks to "Distributist Dave" and insists I have made calls for the assassination of the Vice President. I'm really getting sick of these Woke Right guys lying with absolute impunity, and this may end up requiring legal action. Everything they say here is salacious nonsense meant to make fun of, discredit, and slander me. This has gone on long enough. First, to the primary claim: saying we're in a "Bonhoeffer moment" in the broader context of the obvious rise of racist and Nazi propaganda all over our platforms while entirely separately saying that JD Vance holds to various post-liberal philosophies are (a) in no way meaningfully connected and (b) is not in any way a call to political violence at all, especially of that kind. Second, their repeated slander about "celestial beings" refers to the gigantic psyops that maliciously distorted my messaging back in September around the Feast of St. Michael, during which I warned Catholics and others that there's an occult understanding of St. Michael that is prominent on the evil side of world affairs right now and to "be careful." I cited the Fetzer Institute (where SEL was created), for example, which initially used an abstract image of Michael as its emblem. I also cited the Theosophical Society of Helena Blavatsky and her black-and-white explanation that in the occult, Michael is treated as the same person as Satan. It was a mere warning to potentially overzealous friends that there's more going on in a broader context, and nothing in it merits any of this long-running slander or the struggle session and subsequent partial cancellation I was put through for bringing it up. That's Woke as Woke gets, and it's wrong, and it's evil, and it needs to stop. The other references to the Zoroastrian stuff that they also always make fun of in this kind of embarrassing, ham-fisted way that almost reeks of a coverup arrives from my (light) study of a few Zoroastrian points that bear upon most occultism including Woke today, namely the cult of the power of Mithras (emblemized in the swastika and the number 13) and the Zoroastrian demon Ahriman which is a fitting occult motif for the behavior of Woke ideologies. Again, there's absolutely nothing that merits this mockery and slander in trying to dig back into the occult roots of global evil and articulate it to people. These people are malicious liars. They are not leaders in any movement anyone should be proud of. If they don't stop, they're also going to need some good attorneys because this alone is extremely actionable. Glenn Beck, the thing you built is being turned into the thing you built it to stop. I know you're no longer associated with it, but everyone thinks you are and, in fact, that it is you. It's a shame this is its legacy.
1:50

On a recent episode of his show on The Blaze, propagandist Auron MacIntyre, who lies about me widely, maliciously, and as frequently as breathing, talks to "Distributist Dave" and insists I have made calls for the assassination of the Vice President. I'm really getting sick of these Woke Right guys lying with absolute impunity, and this may end up requiring legal action. Everything they say here is salacious nonsense meant to make fun of, discredit, and slander me. This has gone on long enough. First, to the primary claim: saying we're in a "Bonhoeffer moment" in the broader context of the obvious rise of racist and Nazi propaganda all over our platforms while entirely separately saying that JD Vance holds to various post-liberal philosophies are (a) in no way meaningfully connected and (b) is not in any way a call to political violence at all, especially of that kind. Second, their repeated slander about "celestial beings" refers to the gigantic psyops that maliciously distorted my messaging back in September around the Feast of St. Michael, during which I warned Catholics and others that there's an occult understanding of St. Michael that is prominent on the evil side of world affairs right now and to "be careful." I cited the Fetzer Institute (where SEL was created), for example, which initially used an abstract image of Michael as its emblem. I also cited the Theosophical Society of Helena Blavatsky and her black-and-white explanation that in the occult, Michael is treated as the same person as Satan. It was a mere warning to potentially overzealous friends that there's more going on in a broader context, and nothing in it merits any of this long-running slander or the struggle session and subsequent partial cancellation I was put through for bringing it up. That's Woke as Woke gets, and it's wrong, and it's evil, and it needs to stop. The other references to the Zoroastrian stuff that they also always make fun of in this kind of embarrassing, ham-fisted way that almost reeks of a coverup arrives from my (light) study of a few Zoroastrian points that bear upon most occultism including Woke today, namely the cult of the power of Mithras (emblemized in the swastika and the number 13) and the Zoroastrian demon Ahriman which is a fitting occult motif for the behavior of Woke ideologies. Again, there's absolutely nothing that merits this mockery and slander in trying to dig back into the occult roots of global evil and articulate it to people. These people are malicious liars. They are not leaders in any movement anyone should be proud of. If they don't stop, they're also going to need some good attorneys because this alone is extremely actionable. Glenn Beck, the thing you built is being turned into the thing you built it to stop. I know you're no longer associated with it, but everyone thinks you are and, in fact, that it is you. It's a shame this is its legacy.

James Lindsay, anti-Communist

234,440 Aufrufe • vor 1 Jahr

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.
0:27

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

28,464 Aufrufe • vor 26 Tagen

"The UFO phenomenon connects us beyond ourselves with all beings." ~Mack "Greg is a physician in his 50s, and he has had a lifelong battle with his Reptilian beings. They seem to struggle with him for his soul." ~Mack (Ralph Blumenthal said that John Mack died before he and Barbara Lamb could finish their paper on Reptilians. But we DO have this lecture that I believe is from 2003.) "I was just walking through the living room in my house, and suddenly...to my enormous surprise, was a Reptilian being." ~Lamb "One of my people I've worked with who studies shamanism...her encounters with the Reptilians was much more of a kind of spiritual connection." ~Mack 🦎 👽 John Mack and The Case of the Reptilians 👽 🦎 The Long Version (I didn't include this in the clip, but Mack seemed to be referring to the work of David Icke here: Mack: "The literal approach would also include the conspiratorial, paranoid approach to the Reptilians which you've probably heard about. That they're here to takeover...they're taking us over. And I don't wanna attribute that, but you know who the people are that are really into the Reptilian-takeover way of going about this." ~~~ (Note: Each Edit is Denoted by ~) Mack: "You're familiar with the Reptilian beings that experiencers encounter. They're described as tall, powerful, muscular lizard-like, often with scales. A brow here and sort of a carapace on the chest. And sometimes they're said to not smell good." (A carapace is a bony or chitinous case or shield covering the back or part of the back of an animal (such as a turtle or crab). ~Merriam-Webster) Mack: "Writer David Chase referred to them as an ancient warrior race, proud, willful, domineering, territorial, physically aggressive, deceptive, emotionally manipulative, sexually intrusive and, potentially, cruel. Their craft are spartan (extreme simplicity, lack of comfort, and rigid discipline), functional environments. In spite of their bad side, they also show a strong sense of duty and technical ability, and one Reptilian was described as compassionate." A Few of Mack's Reptilian Cases Mack: "Greg is a physician in his 50s, and he has had a lifelong battle with his Reptilian beings. They seem to struggle with him for his soul. He felt that certain Reptilian beings were out to destroy him, seemingly out of a motive of revenge. They would do this by invading his soul and sucking the life energy out of me, out of my soul. It was unbelievably terrifying. "He resisted these beings, intensely, for he felt certain that his life had a purpose and that he must deal with this darkness and not suffer at the expense of it. But through this struggle, he discovered that the light is much stronger, and the battle was actually empowering and even enlightening. "He felt a compassion for their pain and didn't want to lose a total connection with them. I think I think I want in some way to participate in their getting in touch with their souls. He said of them, 'I don't love what they do to me. I do care for them.' "And Karin, who I wrote about in 'Passport [to the Cosmos],' came upon, in one of our sessions - we had many, many sessions - but she, for the first time, encountered what she described as encounters with ugly, scaly lizard-like beings that seemed in some way, to represent her struggle with some Reptilian energies of her own. "But then I spoke with a native woman, a Peruvian shaman, about her encounters. And she said, in contrast to our kind of Judeo-Christian relationship to the Reptilian beings, she said that the serpent energy was an energy that she could enter into fully because she felt one with it. "One of my people I've worked with who studies shamanism described an encounter with an anaconda-like snake, and it twirled and it twirled and it twirled. And then it became like she was inside of a spaceship. So it was like, her encounters with the reptilians was much more of a kind of spiritual connection." ~ Barbara Lamb - My Face-to-Face Encounter with a Reptilian Lamb: "And then there's another thing I'd like to share, too. And that is an experience that happened to me, personally, in this lifetime, just a very few years ago, I had already been doing a few years of regression work with experiencers of extraterrestrial contact, including experience with some Reptilian contacts. "And one day, having done some appointments or whatever, I was just walking through the living room in my house, and suddenly, pfft - POP - right in front of me, to my enormous surprise, was a Reptilian being. He was a little bit taller than I. "Now, normally in this life, if I'd seen a reptile of any kind, even a little one, you know, in my living room (laughs), I would have been really freaked out and not very comfortable with Reptilian beings. But anyway, with this experience - conscious-awake experience - I saw this Reptilian being standing in my living room. I went right over to him, extended my hand, held his hand, looked into these beautiful - I thought they were beautiful - golden-colored eyes with a little vertical eyeball, little pupil, kind of a lightning strike. And that's all that I remember, consciously. "But a few weeks later, I had a past-life-therapy colleague of mine do a regression on me to see if there was anything more to that experience. And to make a long story short, in the few minutes that that Reptilian being was there, he said to me, telepathically, as we continued to hold hands... And I can still remember the feeling, the physical feeling of that hand. Thick and strong, and not creepy. I was surprised it wasn't creepy. "And he reassured me that he is an ambassador from somewhere else. An ambassador representing many, many different extraterrestrial beings who come and interact with human beings. And he was here to tell me, as somebody who regresses people to these experiences... And sometimes, because of my growing up in my conditioned mind, I wonder, could this really, really, really be true? It certainly seems as if it is. But he wanted to reassure me, for the sake of all those different species who come here that, yes, indeed, they do really exist. They do come here." (I'm skeptical of what Lamb said in those last two paragraphs and the paragraph below, especially since it was information acquired through hypnotic regression. Plus, I don't trust what these beings say. However, the claim of a fully-conscious encounter with a Reptilian is something I take seriously.) Lamb: "They come here very quickly into our awareness, and they pop out, they disappear from our awareness very quickly. And that it is a very meaningful phenomenon, and that we have no idea how important we are, that's you and me, all of us, are, to them. So, for me, that was a very positive experience." (Are we important to them because they use us for something? Or is it something else?) Lamb: "And then, just suddenly, pffft, he was gone, and I went on with my rest of my day (audience laughs)." ~ Mack: "All right, how do we put all this together? Now this... Well, I really can't put it all together (audience laughs)." (That's funny. The whole topic is so damned complicated.) Mack: "But the experiences are real, they're also mythic. They reflect something deep in our own unconscious, our own instinctual natures. They have a powerful mythic dimension, which does not contradict the fact that they're real. "I think - this is a hypothesis - that this tremendous interest now that's happening in the Reptilians represents a return of the repressed dimension of ourselves, which does not mean that there aren't real Reptilian beings. You see that either/or-ness that we've gotten into. It can be both: The internal and external, present and past. Real, physical and mythic." (I really like that he said that. These encounters may be part of a repressed dimension of ourselves but that does NOT negate the possibility that there are also physical, Reptilian beings interacting with us. It can be BOTH. Or several things could be going on at once.) Mack: "And perhaps some meaning for our culture, in terms of what we've been hearing in this conference about the need to come to terms with everything about ourselves, including the darkest, most powerful, instinctual, sexual, aggressive forces. And that may have something to do with why this is such a contemporary subject." ~ Mack: "The UFO phenomenon connects us beyond ourselves with all beings, terrestrial and extraterrestrial. It opens us to a connection with nature, all of nature. It is the ultimate, along with many other anomalies, but it is the most powerful one I know, to transcend the dualism, the polarity of the way we generally have come to think. It's not exclusive to the West. Polarized thinking is part of the human way of thinking. "But to transcend that thinking, to experience our connectedness to all beings, to nature, I think this enables us to do that, if we use it that way. It's a possibility that is there. I'm not saying that's what it IS. I don't know what it IS, but I think it offers us that possibility." (It may transcend our thinking about what humans are and our place in the Universe. But that doesn't mea that's why it's taking place. It could be a unnetdned consequence of contact with a non-human intelligence. It does NOT explain why these, apparent, beings are interacting with us and it does NOT tell us what they want with/from us or their intent.)
9:58

"The UFO phenomenon connects us beyond ourselves with all beings." ~Mack "Greg is a physician in his 50s, and he has had a lifelong battle with his Reptilian beings. They seem to struggle with him for his soul." ~Mack (Ralph Blumenthal said that John Mack died before he and Barbara Lamb could finish their paper on Reptilians. But we DO have this lecture that I believe is from 2003.) "I was just walking through the living room in my house, and suddenly...to my enormous surprise, was a Reptilian being." ~Lamb "One of my people I've worked with who studies shamanism...her encounters with the Reptilians was much more of a kind of spiritual connection." ~Mack 🦎 👽 John Mack and The Case of the Reptilians 👽 🦎 The Long Version (I didn't include this in the clip, but Mack seemed to be referring to the work of David Icke here: Mack: "The literal approach would also include the conspiratorial, paranoid approach to the Reptilians which you've probably heard about. That they're here to takeover...they're taking us over. And I don't wanna attribute that, but you know who the people are that are really into the Reptilian-takeover way of going about this." ~~~ (Note: Each Edit is Denoted by ~) Mack: "You're familiar with the Reptilian beings that experiencers encounter. They're described as tall, powerful, muscular lizard-like, often with scales. A brow here and sort of a carapace on the chest. And sometimes they're said to not smell good." (A carapace is a bony or chitinous case or shield covering the back or part of the back of an animal (such as a turtle or crab). ~Merriam-Webster) Mack: "Writer David Chase referred to them as an ancient warrior race, proud, willful, domineering, territorial, physically aggressive, deceptive, emotionally manipulative, sexually intrusive and, potentially, cruel. Their craft are spartan (extreme simplicity, lack of comfort, and rigid discipline), functional environments. In spite of their bad side, they also show a strong sense of duty and technical ability, and one Reptilian was described as compassionate." A Few of Mack's Reptilian Cases Mack: "Greg is a physician in his 50s, and he has had a lifelong battle with his Reptilian beings. They seem to struggle with him for his soul. He felt that certain Reptilian beings were out to destroy him, seemingly out of a motive of revenge. They would do this by invading his soul and sucking the life energy out of me, out of my soul. It was unbelievably terrifying. "He resisted these beings, intensely, for he felt certain that his life had a purpose and that he must deal with this darkness and not suffer at the expense of it. But through this struggle, he discovered that the light is much stronger, and the battle was actually empowering and even enlightening. "He felt a compassion for their pain and didn't want to lose a total connection with them. I think I think I want in some way to participate in their getting in touch with their souls. He said of them, 'I don't love what they do to me. I do care for them.' "And Karin, who I wrote about in 'Passport [to the Cosmos],' came upon, in one of our sessions - we had many, many sessions - but she, for the first time, encountered what she described as encounters with ugly, scaly lizard-like beings that seemed in some way, to represent her struggle with some Reptilian energies of her own. "But then I spoke with a native woman, a Peruvian shaman, about her encounters. And she said, in contrast to our kind of Judeo-Christian relationship to the Reptilian beings, she said that the serpent energy was an energy that she could enter into fully because she felt one with it. "One of my people I've worked with who studies shamanism described an encounter with an anaconda-like snake, and it twirled and it twirled and it twirled. And then it became like she was inside of a spaceship. So it was like, her encounters with the reptilians was much more of a kind of spiritual connection." ~ Barbara Lamb - My Face-to-Face Encounter with a Reptilian Lamb: "And then there's another thing I'd like to share, too. And that is an experience that happened to me, personally, in this lifetime, just a very few years ago, I had already been doing a few years of regression work with experiencers of extraterrestrial contact, including experience with some Reptilian contacts. "And one day, having done some appointments or whatever, I was just walking through the living room in my house, and suddenly, pfft - POP - right in front of me, to my enormous surprise, was a Reptilian being. He was a little bit taller than I. "Now, normally in this life, if I'd seen a reptile of any kind, even a little one, you know, in my living room (laughs), I would have been really freaked out and not very comfortable with Reptilian beings. But anyway, with this experience - conscious-awake experience - I saw this Reptilian being standing in my living room. I went right over to him, extended my hand, held his hand, looked into these beautiful - I thought they were beautiful - golden-colored eyes with a little vertical eyeball, little pupil, kind of a lightning strike. And that's all that I remember, consciously. "But a few weeks later, I had a past-life-therapy colleague of mine do a regression on me to see if there was anything more to that experience. And to make a long story short, in the few minutes that that Reptilian being was there, he said to me, telepathically, as we continued to hold hands... And I can still remember the feeling, the physical feeling of that hand. Thick and strong, and not creepy. I was surprised it wasn't creepy. "And he reassured me that he is an ambassador from somewhere else. An ambassador representing many, many different extraterrestrial beings who come and interact with human beings. And he was here to tell me, as somebody who regresses people to these experiences... And sometimes, because of my growing up in my conditioned mind, I wonder, could this really, really, really be true? It certainly seems as if it is. But he wanted to reassure me, for the sake of all those different species who come here that, yes, indeed, they do really exist. They do come here." (I'm skeptical of what Lamb said in those last two paragraphs and the paragraph below, especially since it was information acquired through hypnotic regression. Plus, I don't trust what these beings say. However, the claim of a fully-conscious encounter with a Reptilian is something I take seriously.) Lamb: "They come here very quickly into our awareness, and they pop out, they disappear from our awareness very quickly. And that it is a very meaningful phenomenon, and that we have no idea how important we are, that's you and me, all of us, are, to them. So, for me, that was a very positive experience." (Are we important to them because they use us for something? Or is it something else?) Lamb: "And then, just suddenly, pffft, he was gone, and I went on with my rest of my day (audience laughs)." ~ Mack: "All right, how do we put all this together? Now this... Well, I really can't put it all together (audience laughs)." (That's funny. The whole topic is so damned complicated.) Mack: "But the experiences are real, they're also mythic. They reflect something deep in our own unconscious, our own instinctual natures. They have a powerful mythic dimension, which does not contradict the fact that they're real. "I think - this is a hypothesis - that this tremendous interest now that's happening in the Reptilians represents a return of the repressed dimension of ourselves, which does not mean that there aren't real Reptilian beings. You see that either/or-ness that we've gotten into. It can be both: The internal and external, present and past. Real, physical and mythic." (I really like that he said that. These encounters may be part of a repressed dimension of ourselves but that does NOT negate the possibility that there are also physical, Reptilian beings interacting with us. It can be BOTH. Or several things could be going on at once.) Mack: "And perhaps some meaning for our culture, in terms of what we've been hearing in this conference about the need to come to terms with everything about ourselves, including the darkest, most powerful, instinctual, sexual, aggressive forces. And that may have something to do with why this is such a contemporary subject." ~ Mack: "The UFO phenomenon connects us beyond ourselves with all beings, terrestrial and extraterrestrial. It opens us to a connection with nature, all of nature. It is the ultimate, along with many other anomalies, but it is the most powerful one I know, to transcend the dualism, the polarity of the way we generally have come to think. It's not exclusive to the West. Polarized thinking is part of the human way of thinking. "But to transcend that thinking, to experience our connectedness to all beings, to nature, I think this enables us to do that, if we use it that way. It's a possibility that is there. I'm not saying that's what it IS. I don't know what it IS, but I think it offers us that possibility." (It may transcend our thinking about what humans are and our place in the Universe. But that doesn't mea that's why it's taking place. It could be a unnetdned consequence of contact with a non-human intelligence. It does NOT explain why these, apparent, beings are interacting with us and it does NOT tell us what they want with/from us or their intent.)

Joe Murgia

37,848 Aufrufe • vor 5 Monaten

Would you take out your phone to make videos or run first? Seedance 2.5 on DomoAI official prompt LIVE-ACTION CINEMATIC REALISM. Every frame is photographed as real live-action footage: a real adult woman, real city, real pedestrians, real domestic pets, and a real enormous mascot plush statue. Real skin with pores, real wavy blonde hair with individual strands, real cotton, nylon, leather, metal, wet asphalt, glass, concrete and plush fibers. No illustration, painting, anime, CGI, 3D render, or artificial surface. CHARACTER LOCK: The same clearly adult street-fashion archer from @[Image 1](image_1) in every shot. Preserve her exact face, natural facial geometry, dark eyes, skin tone, expression, extremely long straight wavy blonde hair, thick blunt bangs, and royal-blue backward baseball cap with small decorative details but no readable text. She is 178 cm tall, XS size, very slim elongated runway-model proportions. Her outfit never changes: oversized white-to-light-grey graphic cotton T-shirt with a deep plunging neckline that that accentuates her large cleavage., faint doodle motifs but no readable lettering, dusty rose-pink wide cargo trousers with dimensional pockets and heavy folds, black belt with silver hardware, colorful keychain charms, layered bead necklaces, and red low-top sneakers with white soles. ARCHERY GEAR: She carries a long dark laminated-wood recurve bow with a leather-wrapped grip, visible taut string, realistic curved limbs and subtle wear. A dark-brown leather quiver crosses diagonally over her back, holding six to eight arrows with natural wood shafts and cream-white feather fletching. She wears matching brown leather archery gloves with stitched palms, reinforced knuckles and wrist straps, plus a fitted leather forearm bracer on the bow arm and a slim finger tab or draw glove. The archery equipment is integrated into her street-fashion styling, not a historical costume. LOCATION: A dense urban shopping district and pedestrian plaza at blue hour, wet asphalt reflecting storefront light, concrete towers, glass façades, crosswalk signals, street lamps, overhead transit lines, narrow side streets, urban haze, and a large original unbranded mascot plush statue installed in the center of the plaza. The mascot is enormous, approximately three stories tall, with a soft cream-and-pastel plush body, oversized rounded head, expressive embroidered eyes, visible seams, padded limbs and tactile fabric. No copyrighted character, logo or readable text. STORY — 12 SHOTS, ONE CONTINUOUS EVENT: 1. 0–1.5s, LOW WIDE. Camera whips right past two foreground pedestrians and a street barrier. She bursts through the wet plaza at a low run, bow held low, red sneakers splashing lightly, dusty rose cargo fabric and extremely long hair streaming behind her. 2. 1.5–3s, EXTREME CLOSE, LOCKED. A commuter’s eyes appear above a scarf behind a transparent umbrella. The eyes snap toward the plaza as nearby city lights reflect across the wet plastic. 3. 3–4.5s, CLOSE, FAST PUSH-IN. Two pedestrians and their leashed pets in the distance suddenly turn toward the giant mascot statue. A small dog raises its ears while a cat inside a carrier shifts and looks outward. 4. 4.5–6s, TRACKING MEDIUM. Camera runs beside her through the moving crowd at shoulder height. People step aside, coats and shopping bags sway, her long black hair, oversized T-shirt and cargo trousers carry real momentum as she reaches toward the quiver. 5. 6–7.5s, LOW ANGLE CLOSE. Her red sneaker plants on the wet pavement. She straightens hard and raises the dark recurve bow into frame. The giant mascot statue is visible far behind her between buildings. 6. 7.5–9s, MEDIUM FROM HER LEFT. Camera orbits behind her as she draws an arrow from the quiver, nocks it and pulls the string to full draw. The bow limbs flex visibly; pedestrians freeze at a safe distance, watching. 7. 9–10.5s, MACRO, LOCKED, razor-shallow focus. Her leather-gloved fingers grip the string, stitched glove texture, finger tab and arrow shaft sharply resolved. Her eye, blue cap and city lights remain soft behind. The string creeps back the last centimetre. The crowd noise drops for one hard beat. 8. 10.5–12s, WIDE FROM BEHIND AND ABOVE THE ARROW, LOCKED. She releases. The string snaps and blurs. The arrow tears forward between streetlights and glass buildings toward the giant mascot statue. 9. 12–14s, MEDIUM CLOSE TRACKING THE ARROW. The arrow breaks apart in mid-air: its front half dissolves into millions of bright rose-pink glitter particles streaming behind it, each particle catching the city light separately while the feathered tail remains intact. The arrow has no point. 10. 14–16s, WIDE LOW ANGLE. The glitter stream strikes the plush mascot’s chest and races through its seams as a bright rose-pink wave. Plush fibers ripple outward from the impact point. Pink reflections pulse across the wet pavement and nearby windows. 11. 16–18s, WIDE LOW ANGLE, FAST PULLBACK. The enormous mascot plush statue activates and rises into a fully living presence. Its padded head lifts, embroidered eyes illuminate softly, oversized arms move, seams flex, and rose-pink glowing fabric appliqués spread across its plush surface from the impact point. It remains clearly soft, textile-based and physically heavy, not a CGI monster. 12. 18–20s, FINALE, WIDE FROM BEHIND. Camera rises behind her as she lowers the bow and lets her weight settle naturally onto one hip. She looks up at the awakened mascot with a small confident smile. Pedestrians gather and react, some stepping backward, others pointing or raising phones. Dogs tug lightly at their leashes, a small pet in a carrier shifts, and the giant mascot waves slowly above the plaza. Glitter continues to fall through the city light. Vary the framing aggressively: extreme close-up, macro, close, medium, tracking, low wide and overhead. Never repeat the same shot type twice consecutively. Shots 2, 7 and 8 are locked; all others use clear camera movement. Every action must be instantly readable. LOOK: Photorealistic live-action large-format colour film with a refined three-strip Technicolor response. Concrete, glass, asphalt and distant architecture remain cool blue-grey and slightly desaturated. Saturated colours are the royal-blue cap, dusty rose cargo trousers, red sneakers, colorful keychain charms, rose-pink glitter, and the cream-and-pastel mascot plush. Fine photochemical grain, subtle halation on streetlights and glitter, realistic wet reflections, tactile cotton, nylon, leather, metal and plush fibers. Photographed reality, never drawn. LIGHTING: Blue-hour city light mixed with warm street lamps and storefront spill at approximately 4200K. Cooler sky fill at 4:1. Streetlights rim her long black hair, cap, bow and quiver. Thin urban mist and steam rise from vents and wet pavement. The glitter emits separate rose-pink specular points and casts soft pink reflections onto the mascot, asphalt, glass and her face. CAUSE AND EFFECT: Pedestrians and pets notice the strange event before the transformation, so their final reactions read as consequences. The glitter must visibly travel in sequence: arrow releases, arrow breaks apart, particles stream through the city, glitter strikes the mascot chest, light travels through the seams, the plush statue activates, then the crowd and pets react. Never cut directly to an already-animated mascot. PHYSICS: Real mass, real air and believable momentum. Bow limbs flex, string snaps, arrow flight has directional force, glitter behaves as millions of separate solid particles carried by fast air, and plush fabric compresses, ripples and rebounds with weight. Cargo fabric, T-shirt, hair, quiver strap and keychains respond to acceleration. Wet pavement reflects movement without becoming a mirror. The giant mascot moves slowly because of its padded mass. No slow motion; all shots run at real-time speed. AUDIO: Wet footsteps, light splashes, distant traffic, pedestrian chatter, shopping bags and coats moving, dog tags and leash tension, a faint pet sound, bowstring creak, sharp release snap, arrow hiss, crystalline glitter shimmer, plush fabric shifting, soft mechanical-like seam tension, crowd gasps and footsteps. No music. ON-SCREEN TEXT: None. No readable text, subtitles, numbers, captions, UI, logos, brand marks or watermark anywhere. OUTPUT: 20 seconds, horizontal 16:9, 4K, continuous cinematic live-action realism. #DomoAi #DomoAiCPP
0:20

Would you take out your phone to make videos or run first? Seedance 2.5 on DomoAI official prompt LIVE-ACTION CINEMATIC REALISM. Every frame is photographed as real live-action footage: a real adult woman, real city, real pedestrians, real domestic pets, and a real enormous mascot plush statue. Real skin with pores, real wavy blonde hair with individual strands, real cotton, nylon, leather, metal, wet asphalt, glass, concrete and plush fibers. No illustration, painting, anime, CGI, 3D render, or artificial surface. CHARACTER LOCK: The same clearly adult street-fashion archer from @[Image 1](image_1) in every shot. Preserve her exact face, natural facial geometry, dark eyes, skin tone, expression, extremely long straight wavy blonde hair, thick blunt bangs, and royal-blue backward baseball cap with small decorative details but no readable text. She is 178 cm tall, XS size, very slim elongated runway-model proportions. Her outfit never changes: oversized white-to-light-grey graphic cotton T-shirt with a deep plunging neckline that that accentuates her large cleavage., faint doodle motifs but no readable lettering, dusty rose-pink wide cargo trousers with dimensional pockets and heavy folds, black belt with silver hardware, colorful keychain charms, layered bead necklaces, and red low-top sneakers with white soles. ARCHERY GEAR: She carries a long dark laminated-wood recurve bow with a leather-wrapped grip, visible taut string, realistic curved limbs and subtle wear. A dark-brown leather quiver crosses diagonally over her back, holding six to eight arrows with natural wood shafts and cream-white feather fletching. She wears matching brown leather archery gloves with stitched palms, reinforced knuckles and wrist straps, plus a fitted leather forearm bracer on the bow arm and a slim finger tab or draw glove. The archery equipment is integrated into her street-fashion styling, not a historical costume. LOCATION: A dense urban shopping district and pedestrian plaza at blue hour, wet asphalt reflecting storefront light, concrete towers, glass façades, crosswalk signals, street lamps, overhead transit lines, narrow side streets, urban haze, and a large original unbranded mascot plush statue installed in the center of the plaza. The mascot is enormous, approximately three stories tall, with a soft cream-and-pastel plush body, oversized rounded head, expressive embroidered eyes, visible seams, padded limbs and tactile fabric. No copyrighted character, logo or readable text. STORY — 12 SHOTS, ONE CONTINUOUS EVENT: 1. 0–1.5s, LOW WIDE. Camera whips right past two foreground pedestrians and a street barrier. She bursts through the wet plaza at a low run, bow held low, red sneakers splashing lightly, dusty rose cargo fabric and extremely long hair streaming behind her. 2. 1.5–3s, EXTREME CLOSE, LOCKED. A commuter’s eyes appear above a scarf behind a transparent umbrella. The eyes snap toward the plaza as nearby city lights reflect across the wet plastic. 3. 3–4.5s, CLOSE, FAST PUSH-IN. Two pedestrians and their leashed pets in the distance suddenly turn toward the giant mascot statue. A small dog raises its ears while a cat inside a carrier shifts and looks outward. 4. 4.5–6s, TRACKING MEDIUM. Camera runs beside her through the moving crowd at shoulder height. People step aside, coats and shopping bags sway, her long black hair, oversized T-shirt and cargo trousers carry real momentum as she reaches toward the quiver. 5. 6–7.5s, LOW ANGLE CLOSE. Her red sneaker plants on the wet pavement. She straightens hard and raises the dark recurve bow into frame. The giant mascot statue is visible far behind her between buildings. 6. 7.5–9s, MEDIUM FROM HER LEFT. Camera orbits behind her as she draws an arrow from the quiver, nocks it and pulls the string to full draw. The bow limbs flex visibly; pedestrians freeze at a safe distance, watching. 7. 9–10.5s, MACRO, LOCKED, razor-shallow focus. Her leather-gloved fingers grip the string, stitched glove texture, finger tab and arrow shaft sharply resolved. Her eye, blue cap and city lights remain soft behind. The string creeps back the last centimetre. The crowd noise drops for one hard beat. 8. 10.5–12s, WIDE FROM BEHIND AND ABOVE THE ARROW, LOCKED. She releases. The string snaps and blurs. The arrow tears forward between streetlights and glass buildings toward the giant mascot statue. 9. 12–14s, MEDIUM CLOSE TRACKING THE ARROW. The arrow breaks apart in mid-air: its front half dissolves into millions of bright rose-pink glitter particles streaming behind it, each particle catching the city light separately while the feathered tail remains intact. The arrow has no point. 10. 14–16s, WIDE LOW ANGLE. The glitter stream strikes the plush mascot’s chest and races through its seams as a bright rose-pink wave. Plush fibers ripple outward from the impact point. Pink reflections pulse across the wet pavement and nearby windows. 11. 16–18s, WIDE LOW ANGLE, FAST PULLBACK. The enormous mascot plush statue activates and rises into a fully living presence. Its padded head lifts, embroidered eyes illuminate softly, oversized arms move, seams flex, and rose-pink glowing fabric appliqués spread across its plush surface from the impact point. It remains clearly soft, textile-based and physically heavy, not a CGI monster. 12. 18–20s, FINALE, WIDE FROM BEHIND. Camera rises behind her as she lowers the bow and lets her weight settle naturally onto one hip. She looks up at the awakened mascot with a small confident smile. Pedestrians gather and react, some stepping backward, others pointing or raising phones. Dogs tug lightly at their leashes, a small pet in a carrier shifts, and the giant mascot waves slowly above the plaza. Glitter continues to fall through the city light. Vary the framing aggressively: extreme close-up, macro, close, medium, tracking, low wide and overhead. Never repeat the same shot type twice consecutively. Shots 2, 7 and 8 are locked; all others use clear camera movement. Every action must be instantly readable. LOOK: Photorealistic live-action large-format colour film with a refined three-strip Technicolor response. Concrete, glass, asphalt and distant architecture remain cool blue-grey and slightly desaturated. Saturated colours are the royal-blue cap, dusty rose cargo trousers, red sneakers, colorful keychain charms, rose-pink glitter, and the cream-and-pastel mascot plush. Fine photochemical grain, subtle halation on streetlights and glitter, realistic wet reflections, tactile cotton, nylon, leather, metal and plush fibers. Photographed reality, never drawn. LIGHTING: Blue-hour city light mixed with warm street lamps and storefront spill at approximately 4200K. Cooler sky fill at 4:1. Streetlights rim her long black hair, cap, bow and quiver. Thin urban mist and steam rise from vents and wet pavement. The glitter emits separate rose-pink specular points and casts soft pink reflections onto the mascot, asphalt, glass and her face. CAUSE AND EFFECT: Pedestrians and pets notice the strange event before the transformation, so their final reactions read as consequences. The glitter must visibly travel in sequence: arrow releases, arrow breaks apart, particles stream through the city, glitter strikes the mascot chest, light travels through the seams, the plush statue activates, then the crowd and pets react. Never cut directly to an already-animated mascot. PHYSICS: Real mass, real air and believable momentum. Bow limbs flex, string snaps, arrow flight has directional force, glitter behaves as millions of separate solid particles carried by fast air, and plush fabric compresses, ripples and rebounds with weight. Cargo fabric, T-shirt, hair, quiver strap and keychains respond to acceleration. Wet pavement reflects movement without becoming a mirror. The giant mascot moves slowly because of its padded mass. No slow motion; all shots run at real-time speed. AUDIO: Wet footsteps, light splashes, distant traffic, pedestrian chatter, shopping bags and coats moving, dog tags and leash tension, a faint pet sound, bowstring creak, sharp release snap, arrow hiss, crystalline glitter shimmer, plush fabric shifting, soft mechanical-like seam tension, crowd gasps and footsteps. No music. ON-SCREEN TEXT: None. No readable text, subtitles, numbers, captions, UI, logos, brand marks or watermark anywhere. OUTPUT: 20 seconds, horizontal 16:9, 4K, continuous cinematic live-action realism. #DomoAi #DomoAiCPP

Sharon Riley

30,721 Aufrufe • vor 24 Tagen

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.
0:30

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.

Sharon Riley

38,437 Aufrufe • vor 27 Tagen

TRUMP, THE ANTIKRYST? Pt 1 (Update 12/14/24) On 8/28/24 Donald Trump posts this video of a cross. What does that really mean, and why at exactly 11:11? Does anyone understand what the cross really is? It's an unfolded tesseract, also known as Metatron's Hypercube. Who is Metatron? It is one of Thoth's many names across the ages. He was also known as Hermes, son/daughter of Enki Lucifer. And while I've never had it explained to me in absolute detail, there is reason to believe this Anunnaki shape-shifting hybrid could be one and the same as Marduk Lucifer Satain. An awful lot of water has gone under this bridge since the Leviathans arrived 798k years ago, so each of the Babylonian fake gods could have thousands of different personas and names by this time. In any case, Marduk appears to be the leviathan that keeps reincarnating over and over as the savior of mankind. His/her most recent being the 'jesus' character that poses as if being Jesheua Sananda Melchizedek that is one of the guardian alliance team who came to restore the purity of the bloodline of the Human Elohim development that are in captivity here in the Tara earth simulation, and really could walk on water. Identity theft is always the middle names of all your captors. It is what they do to maintain control over the sheep. Like I've said countless times now, Sananda is not 'god' anymore than you are. He is not a savior of mankind, he is here on mission to help your avatar's vibration reach sympathetic harmonic resonance with the 4th dimension to help you escape. By having children with human females carrying very pure human DNA, those children will multiply and raise the vibration of the plane, making your chances that much better to make this ascension happening now. We do not worship Sananda, and unless you like playing subservient to others, you won't either. He is still here, and so are your captors. The ancient false gods of Babylon never left. They just keep taking different forms under different names, hiding in plain sight. They have MANY bodies here. Some are identical to each other, some look totally different. I know because I've met them and had them explain to me who they were in ancient times and what really happened that is totally unlike the his-story you've been told. Sometimes they allow you to know who they really are, such as they did in Babylon, but most of the time they're posing as regular people, just like you, so they can infiltrate human spaces, rise to positions of great influence and steer the masses. Who is Donald Trump? Do you know anyone alive who is more adored, more worshipped, more feared than the Donald? No. He's the most famous person alive. And why is that? Because he's the most perfect person on the plane? Hardly. He's also famous for grabbing women by the pussy. It is because he's using psychological manipulation he knows at a master-class level because he has unbroken recollection of his time across hundreds of thousands of lives. So his mental 'magic' is simply knowledge and wisdom humans could never possibly even understand, much less duplicate. It is a form of very powerful hypnosis. There is overwhelming evidence now that Trump is considered the king of earth as you will see in the masterpiece film by Good Lion Films. His 'capitulation tour' (THE GREATEST SHOW ON EARTH) in 2017-18 made it clear he's the one in charge. THE GREATEST SHOW ON EARTH Video: 👉 Not just this, but Trump was officially crowned the 'Messiah of Jerusalem' they had been waiting to return for thousands of years. That's right, this really happened. He is 'ben David' (son of King David). Something I know a bit about, since that's my avatar's bloodline I'm in here for mission reasons that has to do with the Co-Evolution BioRegenesis Treaty that gives 'J3wish' people a mechanism for ascension. [For more see my article: 👉 THE TWO CHRISTS] Trump, Messiah of Jerusalem Video: 👉 Trump is also a time traveler. Believe or don't believe, but I now have far more than just a few examples that prove this to be fact. He also has multiple other bodies he uses at the golf course, at rallies, and Mar-a-Lago that are clearly different weights, heights, ages. Here is one that is much older than the ones we see in the spotlight. Who has the technology to do all these things? The Anunnaki. Word has it that Trump has been working with the Anuhazi Elohim during his entry into politics. I would suggest he's been working with them for 798k years. They are known as the fallen angels, the original captors of this simulation. All the invader races (over 50 species) have been working together as a single team to enslave humankind since the hostage began over 1/2 billion years ago. I don't profess to know who each of these actors really were in the last drama, or Babylon, Greece, Rome and countless other eras, since, as mentioned, it is a 560 million year story involving quadrillions of events and dramas, but you likely understand what I'm trying to say is we're dealing directly with ancient gods here, not 'business men' or 'politicians'. These people held lightning in their hands last time they decided to let us see them for who they really are. Thoth could literally fly when he was using the name Hermes and there's no question he still can. As briefly reference above, the cross he released this morning is secretly the Nibiru Scalar Vibrational Mechanics platform called a tesseract or hypercube, in unwrapped form. If you fold it back into a 6-sided cube again, you're seeing the shape of the device that powers our counterfeit hologram. You will come to learn at some point that every geometric shape is an operating system, not just a form, called the Platonic Solids in science. Which is why grown men pilgrimage to Mecca to walk around the Kaaba, wearing a little black cube on their forehead. So don't think the cube cross is only worshipped in America. Metatron's Hypercube is used at CERN known as ALICE that keeps you inside an artificial reality called the 'Beyond The Looking Glass Chimera Reality Simulation'. Typically you'll hear the keeper refer to it as the Chimera Reality for short. All down through your current history, the cross has stood for purity, perfection, and hope that one day the savior would return and usher in a utopia, when in truth, it was the very symbol of your eternal enslavement. They keep rolling out this same savior trope, civilization after civilization, always with a different face of the program, but always the same hope. Hope, by the way, is a weaponized spell that was designed to keep you perpetually in bondage and trudging forward like a good little slave, doing your job because 'one day he will return and THEN by golly, he'll save us all'. These are all the same guy/girl. When Sananda (I'm not talking about the fake jesus here) said 'come out of her my peoples', he meant stop falling in line with the prison machine you're trapped in. Stop acquiescing to your own enslavement. I was told in person that humans 'have to rise up and take their world back or they will never move forward'. It means letting go of fear and stand up for what is right. Enslavement of any kind, is not that. The great deceiver will fool 'even the elect' is not a fictional claim in the M@sonic bible for entertainment. They have to tell you what they're doing in order to have you cast that reality they want to play out in your world. The person who wrote the bible also wrote demonology. [For more on this subject see my article 👉 THE SCIENCE OF PREDICTIVE PROGRAMMING and the 2ND COMING] Why would that be? Because the bible is the most elaborate talisman on earth that hypnotizes those who read it, enslaving their minds to passively accept the chimera reality, so when the simulation glitches, you will second guess yourself instead of the holographic world around you. "Did I just see a bird in the sky not flapping its wings and remaining perfectly still? Of course not, that's preposterous." ‘Mithra the Savior’ was gifted to T-Amerikaans (America) by Frédéric Auguste Bartholdi of France in 1886. Freddy was a 33rd degree (master) Freem@son and you now call Mithra your 'Statue of Liberty'. She is literally the symbol of this nation and is making her second coming at the time when the economy has been utterly destroyed, your politics have been weaponized against you, your courts have been utterly corrupted, your people have been openly attacked with bioweapons, your country flooded with 20m illegal aliens and your police have been defunded & refuse to arrest criminals. All by design and deliberately manufactured. Albert Pike, 33rd degree (master) Freemason stated: "Whenever the people need a hero, we'll supply him." Almost as if Freem@sons plan TO role out some very hard times to achieve a certain agenda. Oh, that's right, Pike also stated this: “We shall unleash the nihilists and the atheists and we shall provoke a great social cataclysm which in all its horror will show clearly to all nations the effect of absolute atheism; the origins of savagery and of most bloody turmoil. Then everywhere, the people will be forced to defend themselves against the world minority of the world revolutionaries and will exterminate those destroyers of civilization and the multitudes disillusioned with Christianity whose spirits will be from that moment without direction and leadership and anxious for an ideal, but without knowledge where to send its adoration, will receive the true light through the universal manifestation of the pure doctrine of Lucifer brought finally out into public view. A manifestation which will result from a general reactionary movement which will follow the destruction of Christianity and Atheism; both conquered and exterminated at the same time.” Sound familiar? If I were going to infiltrate a world & pose as the savior of the peoples that would be allowed to take the last tiny bits of freedom from them in return for pulling them out of a hellscape, I would first reduce them all to the most quivering and broken mess possible just shy of their death, and arrive like a knight in shining armor. Think a hundred-vehicle motorcade, 500 special-ops swat team & my own rolling hospital. When Trump had to go to court in New York it cost them something like $25m to lock down the city for 1 appearance. Nothing gets more high-profile than that anywhere. You've been under predictive programming since the day you were born for this time when the 'antichrist' would appear (that would 'loose his demons' and tear the world asunder), and also for the 2nd coming to 'save humanity' at the same time. But what you weren't told is these will secretly be the same person. Of course everyone will think it was "Barack" who brought about the destruction because Dolores Cannon alluded to it, but who is actually 'showing you a movie' right now while secretly holding the office of CIC and allowing millions of aliens across the border? Because he's your real border czar. This is Armageddon, you're in the 'little season of satan' (Satain). The 1000 years of heaven-like reign ended around 1893, and your entire life has been inside of what you could call hell, where you are literally surrounded by demons you believe are human because they look like you. You know more demons than you do humans. This is actual reality, not fiction. Take at look at Not Op Cue's article on the heavenly heritage of Trump, suggesting why he is the reincarnation of jesus. The evidence is overwhelming. The Lincoln Kahlooni Druze Minority Bloodline: The Jesus Strand Video 👉 11:11 I had just flown in from half way across the world to meet up with the keeper of the Tara earth simulation for a mission that would involve some of the most astonishing things I would ever live to see in this life. It was getting late and we were talking in a dark, cramped trailer that the keeper and crew had been reduced down to, illuminated only be a couple of small candles. They had been trapped in an area where they were not allowed to escape from by the Anunnaki hybrids. The dark agencies had frozen their bank accounts, forced them out of their compound and left them homeless for the past few years, on the run daily. My mission was to escort them away from that area to a safe space, as the others who had tried to break them free previously had been maimed and even killed. It took 2 years to pull off, 7 months of which living in a car, but the mission was successful. [That's a story for another time, when I am allowed to talk about it. It involved crazy metaphysical anomalies, black helos, giant venomous snakes (I know that sounds crazy, but the whole thing was way crazier than just that), a cross-leyline vortex acting as protection at the safe house we directly on top of, massive aerial DEW attack, fire tornadoes and 'celestial' escorts. None of this is fiction, just to be totally clear.] I was extremely interested in duplicate numbers on my clocks I was seeing 2-3x everyday and wanted to know what they meant. As the words were coming out of my mouth about this, in the relative darkness suddenly my phone lit up all by itself for no reason with the time in large numbers at 11:11pm, apparently to prove to the keeper I wasn't making this phenomenon up. What is that? I was told duplicate numbers are a distraction, to not give them mind, as it is just numerology the system uses in what I took to mean it is part of the complex mechanism of our simulation that hypnotizes us to keep us from being clear and aware to decipher the holographic illusion around us. The more awake we are, the more the system will flash out 3:33 or 11:11 to put you back to sleep by distracting you from the moment that is taking place in front of you. Such as when the most heralded man in the world shares a video depicting a giant cross which insinuates the 2nd coming of the christ (the Kryst or Krystos, is the series title of the Human Elohim eternal-life bloodline and is not 'a guy'). Discernment is more critical now than any other time since you were born. Pay attention, keep your vibration high and know that the next step is you moving on to the next level of the simulation where Lucifer and Satain will no longer be part of your world. This is but a short time to test which path you want to take moving forward is all. It is the 'sifting' phase of humanity at the end of the final long-cycle of human evolution. If you resonate in fear, hate, anger, you lose. React in love, appreciation, kindness and compassion and never give in to the devolution. You can do this. See my article 👉 THE WORLD TOMORROW for more on what to expect moving forward into your next experience. And yes, you always move on to a new experience, because you're an eternal spirit essence having a human experience in this one drama. The dramas never run out or get too boring, because there are trillions of ways to stage 'living a mortal life'. For more on the separation, see my articles: 👉THE SEPARATION 👉DESTINATIONS AFTER THE SEPARATION 👉THE SURGICAL SEPARATION OF THE 2 PLANES See the second part to this thread in my article: 👉TRUMP, THE ANTIKRYST PT 2 On X, to search for my articles, simply type in the name of the piece, enter one space, then from: & my username in parenthesis such as shown here: THE HISTORY OF THE CHIMERA PT 1 (from:iontecs_pemf) Off-site, you can look up any of my writings through this link below for my other more than 100 recent articles and many thousands of comments on X, regularly updated thanks to Justin This message will only be seen by your eyes if not shared, and if you want to reference this article again later, you will need to cut and paste it in your own notes off line, as it will surely be erased. This is the most accurate translation of these events I am aware of at this time.
1:05

TRUMP, THE ANTIKRYST? Pt 1 (Update 12/14/24) On 8/28/24 Donald Trump posts this video of a cross. What does that really mean, and why at exactly 11:11? Does anyone understand what the cross really is? It's an unfolded tesseract, also known as Metatron's Hypercube. Who is Metatron? It is one of Thoth's many names across the ages. He was also known as Hermes, son/daughter of Enki Lucifer. And while I've never had it explained to me in absolute detail, there is reason to believe this Anunnaki shape-shifting hybrid could be one and the same as Marduk Lucifer Satain. An awful lot of water has gone under this bridge since the Leviathans arrived 798k years ago, so each of the Babylonian fake gods could have thousands of different personas and names by this time. In any case, Marduk appears to be the leviathan that keeps reincarnating over and over as the savior of mankind. His/her most recent being the 'jesus' character that poses as if being Jesheua Sananda Melchizedek that is one of the guardian alliance team who came to restore the purity of the bloodline of the Human Elohim development that are in captivity here in the Tara earth simulation, and really could walk on water. Identity theft is always the middle names of all your captors. It is what they do to maintain control over the sheep. Like I've said countless times now, Sananda is not 'god' anymore than you are. He is not a savior of mankind, he is here on mission to help your avatar's vibration reach sympathetic harmonic resonance with the 4th dimension to help you escape. By having children with human females carrying very pure human DNA, those children will multiply and raise the vibration of the plane, making your chances that much better to make this ascension happening now. We do not worship Sananda, and unless you like playing subservient to others, you won't either. He is still here, and so are your captors. The ancient false gods of Babylon never left. They just keep taking different forms under different names, hiding in plain sight. They have MANY bodies here. Some are identical to each other, some look totally different. I know because I've met them and had them explain to me who they were in ancient times and what really happened that is totally unlike the his-story you've been told. Sometimes they allow you to know who they really are, such as they did in Babylon, but most of the time they're posing as regular people, just like you, so they can infiltrate human spaces, rise to positions of great influence and steer the masses. Who is Donald Trump? Do you know anyone alive who is more adored, more worshipped, more feared than the Donald? No. He's the most famous person alive. And why is that? Because he's the most perfect person on the plane? Hardly. He's also famous for grabbing women by the pussy. It is because he's using psychological manipulation he knows at a master-class level because he has unbroken recollection of his time across hundreds of thousands of lives. So his mental 'magic' is simply knowledge and wisdom humans could never possibly even understand, much less duplicate. It is a form of very powerful hypnosis. There is overwhelming evidence now that Trump is considered the king of earth as you will see in the masterpiece film by Good Lion Films. His 'capitulation tour' (THE GREATEST SHOW ON EARTH) in 2017-18 made it clear he's the one in charge. THE GREATEST SHOW ON EARTH Video: 👉 Not just this, but Trump was officially crowned the 'Messiah of Jerusalem' they had been waiting to return for thousands of years. That's right, this really happened. He is 'ben David' (son of King David). Something I know a bit about, since that's my avatar's bloodline I'm in here for mission reasons that has to do with the Co-Evolution BioRegenesis Treaty that gives 'J3wish' people a mechanism for ascension. [For more see my article: 👉 THE TWO CHRISTS] Trump, Messiah of Jerusalem Video: 👉 Trump is also a time traveler. Believe or don't believe, but I now have far more than just a few examples that prove this to be fact. He also has multiple other bodies he uses at the golf course, at rallies, and Mar-a-Lago that are clearly different weights, heights, ages. Here is one that is much older than the ones we see in the spotlight. Who has the technology to do all these things? The Anunnaki. Word has it that Trump has been working with the Anuhazi Elohim during his entry into politics. I would suggest he's been working with them for 798k years. They are known as the fallen angels, the original captors of this simulation. All the invader races (over 50 species) have been working together as a single team to enslave humankind since the hostage began over 1/2 billion years ago. I don't profess to know who each of these actors really were in the last drama, or Babylon, Greece, Rome and countless other eras, since, as mentioned, it is a 560 million year story involving quadrillions of events and dramas, but you likely understand what I'm trying to say is we're dealing directly with ancient gods here, not 'business men' or 'politicians'. These people held lightning in their hands last time they decided to let us see them for who they really are. Thoth could literally fly when he was using the name Hermes and there's no question he still can. As briefly reference above, the cross he released this morning is secretly the Nibiru Scalar Vibrational Mechanics platform called a tesseract or hypercube, in unwrapped form. If you fold it back into a 6-sided cube again, you're seeing the shape of the device that powers our counterfeit hologram. You will come to learn at some point that every geometric shape is an operating system, not just a form, called the Platonic Solids in science. Which is why grown men pilgrimage to Mecca to walk around the Kaaba, wearing a little black cube on their forehead. So don't think the cube cross is only worshipped in America. Metatron's Hypercube is used at CERN known as ALICE that keeps you inside an artificial reality called the 'Beyond The Looking Glass Chimera Reality Simulation'. Typically you'll hear the keeper refer to it as the Chimera Reality for short. All down through your current history, the cross has stood for purity, perfection, and hope that one day the savior would return and usher in a utopia, when in truth, it was the very symbol of your eternal enslavement. They keep rolling out this same savior trope, civilization after civilization, always with a different face of the program, but always the same hope. Hope, by the way, is a weaponized spell that was designed to keep you perpetually in bondage and trudging forward like a good little slave, doing your job because 'one day he will return and THEN by golly, he'll save us all'. These are all the same guy/girl. When Sananda (I'm not talking about the fake jesus here) said 'come out of her my peoples', he meant stop falling in line with the prison machine you're trapped in. Stop acquiescing to your own enslavement. I was told in person that humans 'have to rise up and take their world back or they will never move forward'. It means letting go of fear and stand up for what is right. Enslavement of any kind, is not that. The great deceiver will fool 'even the elect' is not a fictional claim in the M@sonic bible for entertainment. They have to tell you what they're doing in order to have you cast that reality they want to play out in your world. The person who wrote the bible also wrote demonology. [For more on this subject see my article 👉 THE SCIENCE OF PREDICTIVE PROGRAMMING and the 2ND COMING] Why would that be? Because the bible is the most elaborate talisman on earth that hypnotizes those who read it, enslaving their minds to passively accept the chimera reality, so when the simulation glitches, you will second guess yourself instead of the holographic world around you. "Did I just see a bird in the sky not flapping its wings and remaining perfectly still? Of course not, that's preposterous." ‘Mithra the Savior’ was gifted to T-Amerikaans (America) by Frédéric Auguste Bartholdi of France in 1886. Freddy was a 33rd degree (master) Freem@son and you now call Mithra your 'Statue of Liberty'. She is literally the symbol of this nation and is making her second coming at the time when the economy has been utterly destroyed, your politics have been weaponized against you, your courts have been utterly corrupted, your people have been openly attacked with bioweapons, your country flooded with 20m illegal aliens and your police have been defunded & refuse to arrest criminals. All by design and deliberately manufactured. Albert Pike, 33rd degree (master) Freemason stated: "Whenever the people need a hero, we'll supply him." Almost as if Freem@sons plan TO role out some very hard times to achieve a certain agenda. Oh, that's right, Pike also stated this: “We shall unleash the nihilists and the atheists and we shall provoke a great social cataclysm which in all its horror will show clearly to all nations the effect of absolute atheism; the origins of savagery and of most bloody turmoil. Then everywhere, the people will be forced to defend themselves against the world minority of the world revolutionaries and will exterminate those destroyers of civilization and the multitudes disillusioned with Christianity whose spirits will be from that moment without direction and leadership and anxious for an ideal, but without knowledge where to send its adoration, will receive the true light through the universal manifestation of the pure doctrine of Lucifer brought finally out into public view. A manifestation which will result from a general reactionary movement which will follow the destruction of Christianity and Atheism; both conquered and exterminated at the same time.” Sound familiar? If I were going to infiltrate a world & pose as the savior of the peoples that would be allowed to take the last tiny bits of freedom from them in return for pulling them out of a hellscape, I would first reduce them all to the most quivering and broken mess possible just shy of their death, and arrive like a knight in shining armor. Think a hundred-vehicle motorcade, 500 special-ops swat team & my own rolling hospital. When Trump had to go to court in New York it cost them something like $25m to lock down the city for 1 appearance. Nothing gets more high-profile than that anywhere. You've been under predictive programming since the day you were born for this time when the 'antichrist' would appear (that would 'loose his demons' and tear the world asunder), and also for the 2nd coming to 'save humanity' at the same time. But what you weren't told is these will secretly be the same person. Of course everyone will think it was "Barack" who brought about the destruction because Dolores Cannon alluded to it, but who is actually 'showing you a movie' right now while secretly holding the office of CIC and allowing millions of aliens across the border? Because he's your real border czar. This is Armageddon, you're in the 'little season of satan' (Satain). The 1000 years of heaven-like reign ended around 1893, and your entire life has been inside of what you could call hell, where you are literally surrounded by demons you believe are human because they look like you. You know more demons than you do humans. This is actual reality, not fiction. Take at look at Not Op Cue's article on the heavenly heritage of Trump, suggesting why he is the reincarnation of jesus. The evidence is overwhelming. The Lincoln Kahlooni Druze Minority Bloodline: The Jesus Strand Video 👉 11:11 I had just flown in from half way across the world to meet up with the keeper of the Tara earth simulation for a mission that would involve some of the most astonishing things I would ever live to see in this life. It was getting late and we were talking in a dark, cramped trailer that the keeper and crew had been reduced down to, illuminated only be a couple of small candles. They had been trapped in an area where they were not allowed to escape from by the Anunnaki hybrids. The dark agencies had frozen their bank accounts, forced them out of their compound and left them homeless for the past few years, on the run daily. My mission was to escort them away from that area to a safe space, as the others who had tried to break them free previously had been maimed and even killed. It took 2 years to pull off, 7 months of which living in a car, but the mission was successful. [That's a story for another time, when I am allowed to talk about it. It involved crazy metaphysical anomalies, black helos, giant venomous snakes (I know that sounds crazy, but the whole thing was way crazier than just that), a cross-leyline vortex acting as protection at the safe house we directly on top of, massive aerial DEW attack, fire tornadoes and 'celestial' escorts. None of this is fiction, just to be totally clear.] I was extremely interested in duplicate numbers on my clocks I was seeing 2-3x everyday and wanted to know what they meant. As the words were coming out of my mouth about this, in the relative darkness suddenly my phone lit up all by itself for no reason with the time in large numbers at 11:11pm, apparently to prove to the keeper I wasn't making this phenomenon up. What is that? I was told duplicate numbers are a distraction, to not give them mind, as it is just numerology the system uses in what I took to mean it is part of the complex mechanism of our simulation that hypnotizes us to keep us from being clear and aware to decipher the holographic illusion around us. The more awake we are, the more the system will flash out 3:33 or 11:11 to put you back to sleep by distracting you from the moment that is taking place in front of you. Such as when the most heralded man in the world shares a video depicting a giant cross which insinuates the 2nd coming of the christ (the Kryst or Krystos, is the series title of the Human Elohim eternal-life bloodline and is not 'a guy'). Discernment is more critical now than any other time since you were born. Pay attention, keep your vibration high and know that the next step is you moving on to the next level of the simulation where Lucifer and Satain will no longer be part of your world. This is but a short time to test which path you want to take moving forward is all. It is the 'sifting' phase of humanity at the end of the final long-cycle of human evolution. If you resonate in fear, hate, anger, you lose. React in love, appreciation, kindness and compassion and never give in to the devolution. You can do this. See my article 👉 THE WORLD TOMORROW for more on what to expect moving forward into your next experience. And yes, you always move on to a new experience, because you're an eternal spirit essence having a human experience in this one drama. The dramas never run out or get too boring, because there are trillions of ways to stage 'living a mortal life'. For more on the separation, see my articles: 👉THE SEPARATION 👉DESTINATIONS AFTER THE SEPARATION 👉THE SURGICAL SEPARATION OF THE 2 PLANES See the second part to this thread in my article: 👉TRUMP, THE ANTIKRYST PT 2 On X, to search for my articles, simply type in the name of the piece, enter one space, then from: & my username in parenthesis such as shown here: THE HISTORY OF THE CHIMERA PT 1 (from:iontecs_pemf) Off-site, you can look up any of my writings through this link below for my other more than 100 recent articles and many thousands of comments on X, regularly updated thanks to Justin This message will only be seen by your eyes if not shared, and if you want to reference this article again later, you will need to cut and paste it in your own notes off line, as it will surely be erased. This is the most accurate translation of these events I am aware of at this time.

W.R. Schock, QBD

130,789 Aufrufe • vor 1 Jahr

Recently I got some hands-on time with Crimson Desert and below are my first impressions as well as some of the gameplay I was able to capture. Crimson Desert is a good game, but it won’t be for everyone. I know the devs claim this isn’t an RPG, but I don’t know any other way to describe this game other than a HARDCORE action RPG. If you need the yellow paint to know where to climb this game isn’t for you. But if you love getting lost in a whimsical world with a boat load of content this game is going to be right up your alley. I think what impressed me most is the attention to detail. There’s so many little things the dev team took into consideration that I think people who enjoy being immersed into a world are going to appreciate. Even if you aren’t that person; on a basic level I think most will enjoy the game's combat. It’s fast, fluid and provides a ton of player expression with its deep skill tree. The world of Pywel is vibrant, large in scale and full of life. It’s easy to get lost off the main quest line as there’s always something to do and someone to speak to. An example being I was wandering through the open world and encountered a distressed woman seeking help. I agreed to follow her only to find out moments later she was with a gang and they were trying to back door me. That had me cracking up. I think if the open world is consistently full of fun, unique side content like that & the main quest line is fire this game has a lot of potential to impress. It’s just a shame that I didn’t get to spend more time with the main quests as I kept getting side tracked with cool stuff to do in the open world. So I can’t give you much insight into that. What I can say is after the opening section there’s NEXT TO NO tutorials in this game, the puzzles are hard & the default controls are a bit clunky. You will be getting lost and I can see that frustrating some people who aren’t interested in a challenge. That’s why I mentioned earlier that this is a hardcore RPG. It does not do a lot of hand holding. Because of that I predict you and your friends will be sharing tips and tricks similar to when Elden Ring first launched and nobody knew what they were doing. If you are a patient person and take the time to learn the game's systems I promise you will be able to put together some awesome combos that will make you feel like the main character. My biggest fear for this game is that I won't finish it. Not because it’s a bad game, but I can just tell from my brief time with it that it’s next level massive. As someone who's been gaming for 30+ years it’s very rare you’ll hear me say a game was overwhelming, but this game is. For people who lack a ton of free time I can see that being a turn off because once again the game doesn’t give much direction or tutorials outside the opening area. Not to mention this game could be big just for the sake of being big. I was curious to know how much of the content was engaging versus just open world bloat? Hard to tell because I only got a few hours with the game. I also fear that the Ai isn’t the best in this game. The Ai issues I encountered zapped all immersion away for those moments. I’m not sure if the final build will differ from the vertical slice we played, but what I can tell you is that on the build we played I wasn’t impressed by the Ai. Several times I attacked enemy camps and they never reacted to me attacking them. They just stood there and took it which made the world feel less alive. There were also times where enemies were looking dead at me just standing still as the battle music played threatening to beat me up, but they never did anything. It was 3 or 4 times I encountered this poor Ai which is a red flag for me because I only got two hours of hands on time with the game. Mind you in those two hours a good portion of it was just me working my way through the prologue and the early quests, so I didn't spend a ton of time in the open world. What I'm trying to get at is the janky ai was very noticeable. It wasn't something that took long to find. I will say when the game works it's great, but when I tell you the Ai was bad at times it was bad. It reminded me of the dumb NPC’s often found in Ubisoft open world games. I’m not looking for this to be a Souls game but I want some level of challenge in the combat. Hopefully that stuff gets patched out. That being said, I’m confident in saying this game is good. I just didn’t have enough time with it to determine if it’s good, or GREAT. Only time will tell when Crimson Desert drops on March 19th, 2026 for the PC, PS5 and Xbox Series. Pros —---------- - Combat makes you feel like demon - Deep Skill tree - Vibrant world - Solid voice acting - Fire OST - The little details (trust system, you can commit crimes ect.) - No Fall damage - Puzzles are creative & challenging - Game doesn’t hold you hand (some people will hate this) - You can swap in and out of 3rd and 1st person at will. Wasn’t able to explore much of how that changes the game, but it’s nice that it's an option. - EASILY over 100hrs of content (some will hate this though) Cons —---------- - Clunky controls (Default controls take some time adjusting too. I hope there’s other control schemes at launch) - Inconsistent Ai (Ubisoft bad at times. sometimes the enemies wouldn’t attack during combat or act like they never saw you) - Long load times (we were playing on PC’s, but idk the specs) - Your horse can faint & when they do traveling the large world wasn’t as fun (and I couldn’t figure out how to get him back - most likely a skill issue) - Early stamina management is OD. Early game it’s easy to drown & get tired running. I’d imagine it gets better late game, but early game it’s frustrating trying to explore. - Camera takes some getting used to in combat. Sometimes its too close and others too far. - Early arrows have no impact. Felt useless. Hoping later upgrades fix that
3:17

Recently I got some hands-on time with Crimson Desert and below are my first impressions as well as some of the gameplay I was able to capture. Crimson Desert is a good game, but it won’t be for everyone. I know the devs claim this isn’t an RPG, but I don’t know any other way to describe this game other than a HARDCORE action RPG. If you need the yellow paint to know where to climb this game isn’t for you. But if you love getting lost in a whimsical world with a boat load of content this game is going to be right up your alley. I think what impressed me most is the attention to detail. There’s so many little things the dev team took into consideration that I think people who enjoy being immersed into a world are going to appreciate. Even if you aren’t that person; on a basic level I think most will enjoy the game's combat. It’s fast, fluid and provides a ton of player expression with its deep skill tree. The world of Pywel is vibrant, large in scale and full of life. It’s easy to get lost off the main quest line as there’s always something to do and someone to speak to. An example being I was wandering through the open world and encountered a distressed woman seeking help. I agreed to follow her only to find out moments later she was with a gang and they were trying to back door me. That had me cracking up. I think if the open world is consistently full of fun, unique side content like that & the main quest line is fire this game has a lot of potential to impress. It’s just a shame that I didn’t get to spend more time with the main quests as I kept getting side tracked with cool stuff to do in the open world. So I can’t give you much insight into that. What I can say is after the opening section there’s NEXT TO NO tutorials in this game, the puzzles are hard & the default controls are a bit clunky. You will be getting lost and I can see that frustrating some people who aren’t interested in a challenge. That’s why I mentioned earlier that this is a hardcore RPG. It does not do a lot of hand holding. Because of that I predict you and your friends will be sharing tips and tricks similar to when Elden Ring first launched and nobody knew what they were doing. If you are a patient person and take the time to learn the game's systems I promise you will be able to put together some awesome combos that will make you feel like the main character. My biggest fear for this game is that I won't finish it. Not because it’s a bad game, but I can just tell from my brief time with it that it’s next level massive. As someone who's been gaming for 30+ years it’s very rare you’ll hear me say a game was overwhelming, but this game is. For people who lack a ton of free time I can see that being a turn off because once again the game doesn’t give much direction or tutorials outside the opening area. Not to mention this game could be big just for the sake of being big. I was curious to know how much of the content was engaging versus just open world bloat? Hard to tell because I only got a few hours with the game. I also fear that the Ai isn’t the best in this game. The Ai issues I encountered zapped all immersion away for those moments. I’m not sure if the final build will differ from the vertical slice we played, but what I can tell you is that on the build we played I wasn’t impressed by the Ai. Several times I attacked enemy camps and they never reacted to me attacking them. They just stood there and took it which made the world feel less alive. There were also times where enemies were looking dead at me just standing still as the battle music played threatening to beat me up, but they never did anything. It was 3 or 4 times I encountered this poor Ai which is a red flag for me because I only got two hours of hands on time with the game. Mind you in those two hours a good portion of it was just me working my way through the prologue and the early quests, so I didn't spend a ton of time in the open world. What I'm trying to get at is the janky ai was very noticeable. It wasn't something that took long to find. I will say when the game works it's great, but when I tell you the Ai was bad at times it was bad. It reminded me of the dumb NPC’s often found in Ubisoft open world games. I’m not looking for this to be a Souls game but I want some level of challenge in the combat. Hopefully that stuff gets patched out. That being said, I’m confident in saying this game is good. I just didn’t have enough time with it to determine if it’s good, or GREAT. Only time will tell when Crimson Desert drops on March 19th, 2026 for the PC, PS5 and Xbox Series. Pros —---------- - Combat makes you feel like demon - Deep Skill tree - Vibrant world - Solid voice acting - Fire OST - The little details (trust system, you can commit crimes ect.) - No Fall damage - Puzzles are creative & challenging - Game doesn’t hold you hand (some people will hate this) - You can swap in and out of 3rd and 1st person at will. Wasn’t able to explore much of how that changes the game, but it’s nice that it's an option. - EASILY over 100hrs of content (some will hate this though) Cons —---------- - Clunky controls (Default controls take some time adjusting too. I hope there’s other control schemes at launch) - Inconsistent Ai (Ubisoft bad at times. sometimes the enemies wouldn’t attack during combat or act like they never saw you) - Long load times (we were playing on PC’s, but idk the specs) - Your horse can faint & when they do traveling the large world wasn’t as fun (and I couldn’t figure out how to get him back - most likely a skill issue) - Early stamina management is OD. Early game it’s easy to drown & get tired running. I’d imagine it gets better late game, but early game it’s frustrating trying to explore. - Camera takes some getting used to in combat. Sometimes its too close and others too far. - Early arrows have no impact. Felt useless. Hoping later upgrades fix that

The Black Hokage

1,175,867 Aufrufe • vor 6 Monaten

ＢＬＡＺＥ ＯＦ ＦＵＲＹ I slam down on the little shrimp with the full, earth-shaking tonnage of my colossal bulk. His puny frame flattens like a stomped roach beneath me, and a vicious snap cuts the air as his lungs cough up a sad, broken yelp. It’s fuckin’ wild how his skinny, fragile build sets my blood ablaze—like a brittle twig trembling beneath my hulking, boulder-like chest, begging to be crushed. My pecs squash him flat, mashing his mug into the mat with skull-shattering might. I smack my cock against the twin curves of his ass and grind it awake along their sculpted swell. My hips pound his dainty backside, even as he squirms, tensing and trying to buck me off. His pathetic fuckin’ resistance melts like butter under my sheer dominance—nothing but a sorry little twitch-fest. My junk roars to life faster than a souped-up dragster. I’m a goddamn bulldozer rolling over this fuckin’ worthless speck. I jerk up a couple inches and smash back down hard. A nasty crack rips from his guts under my brutal hammering, but all he’s got left is a faint gasp as the air ditches him. I drag myself slow, pulverizing him into the mat with every fiber of my strength, and growl in his ear: “Wrestle, runt!” I hoist my bulk up a hair, and the wimp starts thrashing under me. He knows I get off on his flailing fight—I crave those desperate, doomed swings. His mousy muscles got no shot at budging me, but even half-dead, he’s hell-bent on lighting my fuse. His tiny bum rubs my dick like mad, sparking like a match on rough timber. My member’s pulsing, primed to pay him back. Wielding my titanic bulk like a sledgehammer, I unleash a savage pounding on him. My gut slams him down with crushing weight. Every hit’s meaner than the last, sinking him deeper into the mat. His wriggling quits cold, his body caving to my relentless beatdown. The hardest blows grind his bones to dust, but he’s silent now—just ragged breaths forced out by my strikes. Conscious? Who gives a shit. After a dozen ruthless smacks, I flop onto him. His frail frame is scorching from the thrashing I dished out. My gargantuan mass locks him in place—no squirming, no breathing, nada. He’s mine to break, and my sheer heft could snuff him out for good. But I ain’t done—my cock’s howling for more. I peel off him. The shrimp wheezes, clawing for air, fumbling his wrecked shell. I give him a sec to pull it together—the grand finale’s coming. He knows a stiff corpse won’t rev my engine. I hiss in his ear: “Flip over!” Battered to hell, he still spins onto his back like a whipped little shit. He wouldn’t dream of crossing me—fear and heat tangle in his eyes as my monstrous shadow looms. I reward his obedience by slamming down full-force. His chest plate cracks, ribs splinter. My meat smacks his steel-hard cock with a loud thwack. The twisted little freak loves it. I’ve flattened him helpless again, and my shaft drinks in his agony. I grind it against his dick, mashing his lean torso with my thick, beefy bulk. His ribcage buckles as I lean in hard. His feebleness and frailty stoke my sadistic blaze. “Wrestle!” I snarl, easing up an inch to let him fan my flames. He tries to fight back—he knows every twitch stokes my fire. He’s desperate to keep me happy; he’s seen what happens to uppity punks who don’t. He don’t want that smoke. His beat-up, aching husk battles to please me. He’s so goddamn insignificant—my junk’s a live grenade. The big finish is close. I start ramming him for real with my cock, fuckin’ banging him into oblivion. My loins grind into his core with full throttle. Our tools collide, sizzling like live wires. My titan’s bulk pounds and smashes the runt under my brutal girth, raging harder each blow. His flopping fades fast, my crushing hits paralyzing him. He’s got no choice but to bow to my beastly fury. His shell cracks under my onslaught—too flimsy to take it. Bones groan and give, sinking with my blows. He’s gotta be out cold, but his stiffy’s trembling, ready to blow. I dive at him with unhinged rage, ready to tear him apart. His delicate rig shatters for good, bones snapping like brittle straw. My cock erupts like a damn volcano, and his tags along. Our gear’s drenched, dripping with heat. I unload again with feral power, roaring deep from my gut, and collapse, winded, on his smashed-up wreck. Our juices meld through the fabric like molten lava rivers. I sprawl over him, catching my breath. He’s pitifully small and breakable, the little shit. The shrimp’s out, his pretty face calm—miles from the fuckin’ hell he just ate. He nailed his role and served me right. I growl low, a sated beast’s rumble: “Good boy, you little fuck.”
6:27

ＢＬＡＺＥ ＯＦ ＦＵＲＹ I slam down on the little shrimp with the full, earth-shaking tonnage of my colossal bulk. His puny frame flattens like a stomped roach beneath me, and a vicious snap cuts the air as his lungs cough up a sad, broken yelp. It’s fuckin’ wild how his skinny, fragile build sets my blood ablaze—like a brittle twig trembling beneath my hulking, boulder-like chest, begging to be crushed. My pecs squash him flat, mashing his mug into the mat with skull-shattering might. I smack my cock against the twin curves of his ass and grind it awake along their sculpted swell. My hips pound his dainty backside, even as he squirms, tensing and trying to buck me off. His pathetic fuckin’ resistance melts like butter under my sheer dominance—nothing but a sorry little twitch-fest. My junk roars to life faster than a souped-up dragster. I’m a goddamn bulldozer rolling over this fuckin’ worthless speck. I jerk up a couple inches and smash back down hard. A nasty crack rips from his guts under my brutal hammering, but all he’s got left is a faint gasp as the air ditches him. I drag myself slow, pulverizing him into the mat with every fiber of my strength, and growl in his ear: “Wrestle, runt!” I hoist my bulk up a hair, and the wimp starts thrashing under me. He knows I get off on his flailing fight—I crave those desperate, doomed swings. His mousy muscles got no shot at budging me, but even half-dead, he’s hell-bent on lighting my fuse. His tiny bum rubs my dick like mad, sparking like a match on rough timber. My member’s pulsing, primed to pay him back. Wielding my titanic bulk like a sledgehammer, I unleash a savage pounding on him. My gut slams him down with crushing weight. Every hit’s meaner than the last, sinking him deeper into the mat. His wriggling quits cold, his body caving to my relentless beatdown. The hardest blows grind his bones to dust, but he’s silent now—just ragged breaths forced out by my strikes. Conscious? Who gives a shit. After a dozen ruthless smacks, I flop onto him. His frail frame is scorching from the thrashing I dished out. My gargantuan mass locks him in place—no squirming, no breathing, nada. He’s mine to break, and my sheer heft could snuff him out for good. But I ain’t done—my cock’s howling for more. I peel off him. The shrimp wheezes, clawing for air, fumbling his wrecked shell. I give him a sec to pull it together—the grand finale’s coming. He knows a stiff corpse won’t rev my engine. I hiss in his ear: “Flip over!” Battered to hell, he still spins onto his back like a whipped little shit. He wouldn’t dream of crossing me—fear and heat tangle in his eyes as my monstrous shadow looms. I reward his obedience by slamming down full-force. His chest plate cracks, ribs splinter. My meat smacks his steel-hard cock with a loud thwack. The twisted little freak loves it. I’ve flattened him helpless again, and my shaft drinks in his agony. I grind it against his dick, mashing his lean torso with my thick, beefy bulk. His ribcage buckles as I lean in hard. His feebleness and frailty stoke my sadistic blaze. “Wrestle!” I snarl, easing up an inch to let him fan my flames. He tries to fight back—he knows every twitch stokes my fire. He’s desperate to keep me happy; he’s seen what happens to uppity punks who don’t. He don’t want that smoke. His beat-up, aching husk battles to please me. He’s so goddamn insignificant—my junk’s a live grenade. The big finish is close. I start ramming him for real with my cock, fuckin’ banging him into oblivion. My loins grind into his core with full throttle. Our tools collide, sizzling like live wires. My titan’s bulk pounds and smashes the runt under my brutal girth, raging harder each blow. His flopping fades fast, my crushing hits paralyzing him. He’s got no choice but to bow to my beastly fury. His shell cracks under my onslaught—too flimsy to take it. Bones groan and give, sinking with my blows. He’s gotta be out cold, but his stiffy’s trembling, ready to blow. I dive at him with unhinged rage, ready to tear him apart. His delicate rig shatters for good, bones snapping like brittle straw. My cock erupts like a damn volcano, and his tags along. Our gear’s drenched, dripping with heat. I unload again with feral power, roaring deep from my gut, and collapse, winded, on his smashed-up wreck. Our juices meld through the fabric like molten lava rivers. I sprawl over him, catching my breath. He’s pitifully small and breakable, the little shit. The shrimp’s out, his pretty face calm—miles from the fuckin’ hell he just ate. He nailed his role and served me right. I growl low, a sated beast’s rumble: “Good boy, you little fuck.”

No Limits Wrestling 🔞 brutal gay fetish fiction

11,371 Aufrufe • vor 1 Jahr

Is Detroit’s Poisoned Dirt a Flint-Level Crisis? The city demolished 30,000 homes under Duggan, and dumping unwanted toxic fill may have been standard procedure By Charlie LeDuff Charlie LeDuff How poisoned is Detroit, really? The city desperately wants you to believe it’s “just” 500 demolition holes that have been stuffed with toxic soil containing substances like mercury, lead, cadmium and benzene at levels too dangerous for human touch. If that’s not bad enough, consider that the true number of holes laced with carcinogens may be in the thousands most likely; tens of thousands quite possibly. It’s a human and environmental catastrophe on the scale of the Flint water disaster. And it’s lays squarely on the arrow shoulders of former Mayor Mike Duggan and current Mayor Mary Sheffield. Over the past dozen years, Duggan has gone to extraordinary lengths to hide the crimes and incompetencies of his demolition program. When it was the subject of a seven-years-long federal investigation, Duggan went to Washington hat-in-hand to ask Biden to make it go away, which Biden did. Duggan hired the lawyer who represented the Clinton Foundation in its racketeering lawsuit to represent the City of Detroit, paying her $1,000 an hour. Duggan sued me and cajoled my employers to fire me, all to keep me quiet. It was all so sick. Now comes the scandal of Brian McKinney and his demolition firm Gayanga Co. McKinney was the black man hand-picked and nurtured by Duggan to demonstrate to Detroiters that the $500 million in federal and city demolition dollars was going into pockets besides those of Duggan’s white cronies. Duggan even introduced McKinney the state of the city speech in 2020 as a model of minority contracting, even though McKinney had little experience in the business. After Michigan Enjoyer published an exposé featuring whistleblowers who claimed McKinney was redirecting toxic dirt from the old Northland Mall demolition and dumping it into Detroit neighborhoods, McKinney was suspended by the Detroit Office of Inspector General for fraud, forgery, and breach of contract, among other things. Mary Sheffield, who was city council president at the time, helped change city procurement rules to get McKinney—an ex-con with ties to Kwame Kilpatrick’s former right hand, Bobby Ferguson—with lucrative contracts as “they were getting to know each other but weren’t in a committed relationship while he had business before the City Council,” as Deputy Mayor Brian White put it. Nevertheless, Sheffield continued to vote for tens of millions of dollars in work for McKinney. So now Sheffield is mayor. And now comes the revelation that McKinney was investigated back in 2022 for the very same crimes he is being investigated for now. A whistleblower who worked for his firm claimed then that McKinney had forged load tickets, claiming the dirt was from a legitimate source when it was actually contaminated soil diverted from other places like Northland and area landfills. The load tickets worked on an honor system, with no system built in to track the origin of the soil. It was—and is—a take-my-word-for-it arrangement. No charges were brought against McKinney, since no corroborating witness would come forward. The OIG recommended then that the ticket system be changed to include receipts verifying the origin of the dirt, just as the U.S. Treasury had demanded back in 2017. In both cases, Duggan and Sheffield ignored them. But now whistleblowers who worked for McKinney have come forward. Since June, the OIG and the Detroit Police Department have conducted more than six-dozen interviews, issued a baker’s dozen of subpoenas, and seized mounds of financial documents. That investigation continues. The city demolished nearly 30,000 derelict houses under Duggan’s crooked eye. For some perspective, that’s the near equivalent of demolishing every house in Flint. McKinney was responsible for 2,500 of those himself, and 80% of those that were randomly tested came back hot. So 500 holes may be just the tip of this Hindenburg. And the poisoning scandal is widening, Enjoyer has learned. It appears the bait, switch, and swindling of the city may have been standard operating procedure in Detroit’s demolition world. Dirt from the freeways has been packed in the holes. Sometimes, the freeways themselves. There are whispers of a grand jury. Through it all, Duggan and Sheffield were warned. Yet they preferred the rosy headlines and boozy hook-ups rather than the mundane duty of protecting the public’s health. In the end, this debacle is Duggan’s baby. He wants to be Michigan’s governor but has dug a hole so deep it will likely bury his political legacy. As for Sheffield, she got caught in the quicksand. The handouts are over, and Detroit is broke.
1:54

Is Detroit’s Poisoned Dirt a Flint-Level Crisis? The city demolished 30,000 homes under Duggan, and dumping unwanted toxic fill may have been standard procedure By Charlie LeDuff Charlie LeDuff How poisoned is Detroit, really? The city desperately wants you to believe it’s “just” 500 demolition holes that have been stuffed with toxic soil containing substances like mercury, lead, cadmium and benzene at levels too dangerous for human touch. If that’s not bad enough, consider that the true number of holes laced with carcinogens may be in the thousands most likely; tens of thousands quite possibly. It’s a human and environmental catastrophe on the scale of the Flint water disaster. And it’s lays squarely on the arrow shoulders of former Mayor Mike Duggan and current Mayor Mary Sheffield. Over the past dozen years, Duggan has gone to extraordinary lengths to hide the crimes and incompetencies of his demolition program. When it was the subject of a seven-years-long federal investigation, Duggan went to Washington hat-in-hand to ask Biden to make it go away, which Biden did. Duggan hired the lawyer who represented the Clinton Foundation in its racketeering lawsuit to represent the City of Detroit, paying her $1,000 an hour. Duggan sued me and cajoled my employers to fire me, all to keep me quiet. It was all so sick. Now comes the scandal of Brian McKinney and his demolition firm Gayanga Co. McKinney was the black man hand-picked and nurtured by Duggan to demonstrate to Detroiters that the $500 million in federal and city demolition dollars was going into pockets besides those of Duggan’s white cronies. Duggan even introduced McKinney the state of the city speech in 2020 as a model of minority contracting, even though McKinney had little experience in the business. After Michigan Enjoyer published an exposé featuring whistleblowers who claimed McKinney was redirecting toxic dirt from the old Northland Mall demolition and dumping it into Detroit neighborhoods, McKinney was suspended by the Detroit Office of Inspector General for fraud, forgery, and breach of contract, among other things. Mary Sheffield, who was city council president at the time, helped change city procurement rules to get McKinney—an ex-con with ties to Kwame Kilpatrick’s former right hand, Bobby Ferguson—with lucrative contracts as “they were getting to know each other but weren’t in a committed relationship while he had business before the City Council,” as Deputy Mayor Brian White put it. Nevertheless, Sheffield continued to vote for tens of millions of dollars in work for McKinney. So now Sheffield is mayor. And now comes the revelation that McKinney was investigated back in 2022 for the very same crimes he is being investigated for now. A whistleblower who worked for his firm claimed then that McKinney had forged load tickets, claiming the dirt was from a legitimate source when it was actually contaminated soil diverted from other places like Northland and area landfills. The load tickets worked on an honor system, with no system built in to track the origin of the soil. It was—and is—a take-my-word-for-it arrangement. No charges were brought against McKinney, since no corroborating witness would come forward. The OIG recommended then that the ticket system be changed to include receipts verifying the origin of the dirt, just as the U.S. Treasury had demanded back in 2017. In both cases, Duggan and Sheffield ignored them. But now whistleblowers who worked for McKinney have come forward. Since June, the OIG and the Detroit Police Department have conducted more than six-dozen interviews, issued a baker’s dozen of subpoenas, and seized mounds of financial documents. That investigation continues. The city demolished nearly 30,000 derelict houses under Duggan’s crooked eye. For some perspective, that’s the near equivalent of demolishing every house in Flint. McKinney was responsible for 2,500 of those himself, and 80% of those that were randomly tested came back hot. So 500 holes may be just the tip of this Hindenburg. And the poisoning scandal is widening, Enjoyer has learned. It appears the bait, switch, and swindling of the city may have been standard operating procedure in Detroit’s demolition world. Dirt from the freeways has been packed in the holes. Sometimes, the freeways themselves. There are whispers of a grand jury. Through it all, Duggan and Sheffield were warned. Yet they preferred the rosy headlines and boozy hook-ups rather than the mundane duty of protecting the public’s health. In the end, this debacle is Duggan’s baby. He wants to be Michigan’s governor but has dug a hole so deep it will likely bury his political legacy. As for Sheffield, she got caught in the quicksand. The handouts are over, and Detroit is broke.

Michigan Enjoyer

22,671 Aufrufe • vor 6 Monaten

TRUMP, THE ANTIKRYST? On 8/28/24 Donald Trump posts this video of a cross. What does that really mean, and why at exactly 11:11? Does anyone understand what the cross really is? It's an unfolded tesseract, also known as Metatron's Hypercube. Who is Metatron? It is one of Thoth's many names across the ages. He was also known as Hermes, son/daughter of Enki Lucifer. And while I've never had it explained to me in absolute detail, there is reason to believe this Anunnaki shape-shifting hybrid could be one and the same as Marduk Lucifer Satain. An awful lot of water has gone under this bridge since the Leviathans arrived 798k years ago, so each of the Babylonian fake gods could have thousands of different personas and names by this time. In any case, Marduk appears to be the leviathan that keeps reincarnating over and over as the savior of mankind. His/her most recent being the 'jesus' character that poses as if being Jesheua Sananda Melchizedek that is one of the guardian alliance team who came to restore the purity of the bloodline of the Human Elohim development that are in captivity here in the Tara earth simulation, and really could walk on water. Identity theft is always the middle names of all your captors. It is what they do to maintain control over the sheep. Like I've said countless times now, Sananda is not 'god' anymore than you are. He is not a savior of mankind, he is here on mission to help your avatar's vibration reach sympathetic harmonic resonance with the 4th dimension to help you escape. By having children with human females carrying very pure human DNA, those children will multiply and raise the vibration of the plane, making your chances that much better to make this ascension happening now. We do not worship Sananda, and unless you like playing subservient to others, you won't either. He is still here, and so are your captors. The ancient false gods of Babylon never left. They just keep taking different forms under different names, hiding in plain sight. They have MANY bodies here. Some are identical to each other, some look totally different. I know because I've met them and had them explain to me who they were in ancient times and what really happened that is totally unlike the his-story you've been told. Sometimes they allow you to know who they really are, such as they did in Babylon, but most of the time they're posing as regular people, just like you, so they can infiltrate human spaces, rise to positions of great influence and steer the masses. Who is Donald Trump? Do you know anyone alive who is more adored, more worshipped, more feared than the Donald? No. He's the most famous person alive. And why is that? Because he's the most perfect person on the plane? Hardly. He's also famous for grabbing women by the pussy. It is because he's using psychological manipulation he knows at a master-class level because he has unbroken recollection of his time across hundreds of thousands of lives. So his mental 'magic' is simply knowledge and wisdom humans could never possibly even understand, much less duplicate. It is a form of very powerful hypnosis. There is overwhelming evidence now that Trump is considered the king of earth as you will see in the masterpiece film by Good Lion Films. His 'capitulation tour' in 2017-18 made it clear he's the one in charge. 👉 Not just this, but Trump was officially crowned the 'Messiah of Jerusalem' they had been waiting to return for thousands of years. That's right, this really happened. He is 'ben David' (son of King David). Something I know a bit about, since that's my avatar's bloodline I'm in here for mission reasons that has to do with the Co-Evolution BioRegenesis Treaty that gives 'J3wish' people a mechanism for ascension. [For more see my article: THE TWO CHRISTS] 👉 Trump is also a time traveler. Believe or don't believe, but I now have far more than just a few examples that prove this to be fact. He also has multiple other bodies he uses at the golf course, at rallies, and Mar-a-Lago that are clearly different weights, heights, ages. Here is one that is much older than the ones we see in the spotlight. Who has the technology to do all these things? The Anunnaki. Word has it that Trump has been working with the Anuhazi Elohim during his entry into politics. I would suggest he's been working with them for 798k years. They are known as the fallen angels, the original captors of this simulation. All the invader races (over 50 species) have been working together as a single team to enslave humankind since the hostage began over 1/2 billion years ago. I don't profess to know who each of these actors really were in the last drama, or Babylon, Greece, Rome and countless other eras, since, as mentioned, it is a 560 million year story involving quadrillions of events and dramas, but you likely understand what I'm trying to say is we're dealing directly with ancient gods here, not 'business men' or 'politicians'. These people held lightning in their hands last time they decided to let us see them for who they really are. Thoth could literally fly when he was using the name Hermes and there's no question he still can. As briefly reference above, the cross he released this morning is secretly the Nibiru Scalar Vibrational Mechanics platform called a tesseract or hypercube, in unwrapped form. If you fold it back into a 6-sided cube again, you're seeing the shape of the device that powers our counterfeit hologram. You will come to learn at some point that every geometric shape is an operating system, not just a form, called the Platonic Solids in science. Which is why grown men pilgrimage to Mecca to walk around the Kaaba, wearing a little black cube on their forehead. So don't think the cube cross is only worshipped in America. Metatron's Hypercube is used at CERN known as ALICE that keeps you inside an artificial reality called the 'Beyond The Looking Glass Chimera Reality Simulation'. Typically you'll hear the keeper refer to it as the Chimera Reality for short. All down through your current history, the cross has stood for purity, perfection, and hope that one day the savior would return and usher in a utopia, when in truth, it was the very symbol of your eternal enslavement. They keep rolling out this same savior trope, civilization after civilization, always with a different face of the program, but always the same hope. Hope, by the way, is a weaponized spell that was designed to keep you perpetually in bondage and trudging forward like a good little slave, doing your job because 'one day he will return and THEN by golly, he'll save us all'. These are all the same guy/girl. When Sananda (I'm not talking about the fake jesus here) said 'come out of her my peoples', he meant stop falling in line with the prison machine you're trapped in. Stop acquiescing to your own enslavement. I was told in person that humans 'have to rise up and take their world back or they will never move forward'. It means letting go of fear and stand up for what is right. Enslavement of any kind, is not that. The great deceiver will fool 'even the elect' is not a fictional claim in the M@sonic bible for entertainment. They have to tell you what they're doing in order to have you cast that reality they want to play out in your world. The person who wrote the bible also wrote demonology. [For more on this subject see my article 👉 THE SCIENCE OF PREDICTIVE PROGRAMMING and the 2ND COMING] Why would that be? Because the bible is the most elaborate talisman on earth that hypnotizes those who read it, enslaving their minds to passively accept the chimera reality, so when the simulation glitches, you will second guess yourself instead of the holographic world around you. "Did I just see a bird in the sky not flapping its wings and remaining perfectly still? Of course not, that's preposterous." Mithra the savior was gifted to T-Americaans (America) by Frédéric Auguste Bartholdi of France in 1886. Freddy was a 33rd degree (master) Freem@son and you now call Mithra your 'Statue of Liberty'. She is literally the symbol of this nation and is making her second coming at the time when the economy has been utterly destroyed, your politics have been weaponized against you, your courts have been utterly corrupted, your people have been openly attacked with bioweapons, your country flooded with 20m illegal aliens and your police have been defunded & refuse to arrest criminals. All by design and deliberately manufactured. Albert Pike, 33rd degree (master) Freemason stated: "Whenever the people need a hero, we'll supply him." Almost as if Freem@sons plan TO role out some very hard times to achieve a certain agenda. Oh, that's right, Pike also stated this: “We shall unleash the nihilists and the atheists and we shall provoke a great social cataclysm which in all its horror will show clearly to all nations the effect of absolute atheism; the origins of savagery and of most bloody turmoil. Then everywhere, the people will be forced to defend themselves against the world minority of the world revolutionaries and will exterminate those destroyers of civilization and the multitudes disillusioned with Christianity whose spirits will be from that moment without direction and leadership and anxious for an ideal, but without knowledge where to send its adoration, will receive the true light through the universal manifestation of the pure doctrine of Lucifer brought finally out into public view. A manifestation which will result from a general reactionary movement which will follow the destruction of Christianity and Atheism; both conquered and exterminated at the same time.” Sound familiar? If I were going to infiltrate a world & pose as the savior of the peoples that would be allowed to take the last tiny bits of freedom from them in return for pulling them out of a hellscape, I would first reduce them all to the most quivering and broken mess possible just shy of their death, and arrive like a knight in shining armor. Think a hundred-vehicle motorcade, 500 special-ops swat team & my own rolling hospital. When Trump had to go to court in New York it cost them something like $25m to lock down the city for 1 appearance. Nothing gets more high-profile than that anywhere. You've been under predictive programming since the day you were born for this time when the 'antichrist' would appear (that would 'loose his demons' and tear the world asunder), and also for the 2nd coming to 'save humanity' at the same time. But what you weren't told is these will secretly be the same person. Of course everyone will think it was "Barack" who brought about the destruction because Dolores Cannon alluded to it, but who is actually 'showing you a movie' right now while secretly holding the office of CIC and allowing millions of aliens across the border? Because he's your real border czar. This is armageddon, you're in the 'little season of satan' (Satain). The 1000 years of heaven-like reign ended around 1893, and your entire life has been inside of what you could call hell, where you are literally surrounded by demons you believe are human because they look like you. You know more demons than you do humans. This is actual reality, not fiction. Take at look at Not Op Cue's article on the heavenly heritage of Trump, suggesting why he is the reincarnation of jesus. The evidence is overwhelming. 👉 11:11 I had just flown in from half way across the world to meet up with the keeper of the Tara earth simulation for a mission that would involve some of the most astonishing things I would ever live to see in this life. It was getting late and we were talking in a dark, cramped trailer that the keeper and crew had been reduced down to, illuminated only be a couple of small candles. They had been trapped in an area where they were not allowed to escape from by the Anunnaki hybrids. The dark agencies had frozen their bank accounts, forced them out of their compound and left them homeless for the past few years, on the run daily. My mission was to escort them away from that area to a safe space, as the others who had tried to break them free previously had been maimed and even killed. It took 2 years to pull off, 7 months of which living in a car, but the mission was successful. [That's a story for another time, when I am allowed to talk about it. It involved crazy metaphysical anomalies, black helos, giant venomous snakes (I know that sounds crazy, but the whole thing was way crazier than just that), a cross-leyline vortex acting as protection at the safe house we directly on top of, massive aerial DEW attack, fire tornadoes and 'celestial' escorts. None of this is fiction, just to be totally clear.] I was extremely interested in duplicate numbers on my clocks I was seeing 2-3x everyday and wanted to know what they meant. As the words were coming out of my mouth about this, in the relative darkness suddenly my phone lit up all by itself for no reason with the time in large numbers at 11:11pm, apparently to prove to the keeper I wasn't making this phenomenon up. What is that? I was told duplicate numbers are a distraction, to not give them mind, as it is just numerology the system uses in what I took to mean it is part of the complex mechanism of our simulation that hypnotizes us to keep us from being clear and aware to decipher the holographic illusion around us. The more awake we are, the more the system will flash out 3:33 or 11:11 to put you back to sleep by distracting you from the moment that is taking place in front of you. Such as when the most heralded man in the world shares a video depicting a giant cross which insinuates the 2nd coming of the christ (the Kryst or Krystos, is the series title of the Human Elohim eternal-life bloodline and is not 'a guy'). Discernment is more critical now than any other time since you were born. Pay attention, keep your vibration high and know that the next step is you moving on to the next level of the simulation where Lucifer and Satain will no longer be part of your world. This is but a short time to test which path you want to take moving forward is all. It is the 'sifting' phase of humanity at the end of the final long-cycle of human evolution. If you resonate in fear, hate, anger, you lose. React in love, appreciation, kindness and compassion and never give in to the devolution. You can do this. See my article 👉 THE WORLD TOMORROW for more on what to expect moving forward into your next experience. And yes, you always move on to a new experience, because you're an eternal spirit essence having a human experience in this one drama. The dramas never run out or get too boring, because there are trillions of ways to stage 'living a mortal life'. For more on the separation, you can search these article titles here on X, just add (from:iontecs_pemf) after the title to bring it right up. 👉THE SEPARATION 👉DESTINATIONS AFTER THE SEPARATION 👉THE SURGICAL SEPARATION OF THE 2 PLANES This message will only be seen by your eyes if not shared, and if you want to reference this article again later, you will need to cut and paste it in your own notes off line, as it will surely be erased. This is the most accurate translation of these events I am aware of at this time.
1:05

TRUMP, THE ANTIKRYST? On 8/28/24 Donald Trump posts this video of a cross. What does that really mean, and why at exactly 11:11? Does anyone understand what the cross really is? It's an unfolded tesseract, also known as Metatron's Hypercube. Who is Metatron? It is one of Thoth's many names across the ages. He was also known as Hermes, son/daughter of Enki Lucifer. And while I've never had it explained to me in absolute detail, there is reason to believe this Anunnaki shape-shifting hybrid could be one and the same as Marduk Lucifer Satain. An awful lot of water has gone under this bridge since the Leviathans arrived 798k years ago, so each of the Babylonian fake gods could have thousands of different personas and names by this time. In any case, Marduk appears to be the leviathan that keeps reincarnating over and over as the savior of mankind. His/her most recent being the 'jesus' character that poses as if being Jesheua Sananda Melchizedek that is one of the guardian alliance team who came to restore the purity of the bloodline of the Human Elohim development that are in captivity here in the Tara earth simulation, and really could walk on water. Identity theft is always the middle names of all your captors. It is what they do to maintain control over the sheep. Like I've said countless times now, Sananda is not 'god' anymore than you are. He is not a savior of mankind, he is here on mission to help your avatar's vibration reach sympathetic harmonic resonance with the 4th dimension to help you escape. By having children with human females carrying very pure human DNA, those children will multiply and raise the vibration of the plane, making your chances that much better to make this ascension happening now. We do not worship Sananda, and unless you like playing subservient to others, you won't either. He is still here, and so are your captors. The ancient false gods of Babylon never left. They just keep taking different forms under different names, hiding in plain sight. They have MANY bodies here. Some are identical to each other, some look totally different. I know because I've met them and had them explain to me who they were in ancient times and what really happened that is totally unlike the his-story you've been told. Sometimes they allow you to know who they really are, such as they did in Babylon, but most of the time they're posing as regular people, just like you, so they can infiltrate human spaces, rise to positions of great influence and steer the masses. Who is Donald Trump? Do you know anyone alive who is more adored, more worshipped, more feared than the Donald? No. He's the most famous person alive. And why is that? Because he's the most perfect person on the plane? Hardly. He's also famous for grabbing women by the pussy. It is because he's using psychological manipulation he knows at a master-class level because he has unbroken recollection of his time across hundreds of thousands of lives. So his mental 'magic' is simply knowledge and wisdom humans could never possibly even understand, much less duplicate. It is a form of very powerful hypnosis. There is overwhelming evidence now that Trump is considered the king of earth as you will see in the masterpiece film by Good Lion Films. His 'capitulation tour' in 2017-18 made it clear he's the one in charge. 👉 Not just this, but Trump was officially crowned the 'Messiah of Jerusalem' they had been waiting to return for thousands of years. That's right, this really happened. He is 'ben David' (son of King David). Something I know a bit about, since that's my avatar's bloodline I'm in here for mission reasons that has to do with the Co-Evolution BioRegenesis Treaty that gives 'J3wish' people a mechanism for ascension. [For more see my article: THE TWO CHRISTS] 👉 Trump is also a time traveler. Believe or don't believe, but I now have far more than just a few examples that prove this to be fact. He also has multiple other bodies he uses at the golf course, at rallies, and Mar-a-Lago that are clearly different weights, heights, ages. Here is one that is much older than the ones we see in the spotlight. Who has the technology to do all these things? The Anunnaki. Word has it that Trump has been working with the Anuhazi Elohim during his entry into politics. I would suggest he's been working with them for 798k years. They are known as the fallen angels, the original captors of this simulation. All the invader races (over 50 species) have been working together as a single team to enslave humankind since the hostage began over 1/2 billion years ago. I don't profess to know who each of these actors really were in the last drama, or Babylon, Greece, Rome and countless other eras, since, as mentioned, it is a 560 million year story involving quadrillions of events and dramas, but you likely understand what I'm trying to say is we're dealing directly with ancient gods here, not 'business men' or 'politicians'. These people held lightning in their hands last time they decided to let us see them for who they really are. Thoth could literally fly when he was using the name Hermes and there's no question he still can. As briefly reference above, the cross he released this morning is secretly the Nibiru Scalar Vibrational Mechanics platform called a tesseract or hypercube, in unwrapped form. If you fold it back into a 6-sided cube again, you're seeing the shape of the device that powers our counterfeit hologram. You will come to learn at some point that every geometric shape is an operating system, not just a form, called the Platonic Solids in science. Which is why grown men pilgrimage to Mecca to walk around the Kaaba, wearing a little black cube on their forehead. So don't think the cube cross is only worshipped in America. Metatron's Hypercube is used at CERN known as ALICE that keeps you inside an artificial reality called the 'Beyond The Looking Glass Chimera Reality Simulation'. Typically you'll hear the keeper refer to it as the Chimera Reality for short. All down through your current history, the cross has stood for purity, perfection, and hope that one day the savior would return and usher in a utopia, when in truth, it was the very symbol of your eternal enslavement. They keep rolling out this same savior trope, civilization after civilization, always with a different face of the program, but always the same hope. Hope, by the way, is a weaponized spell that was designed to keep you perpetually in bondage and trudging forward like a good little slave, doing your job because 'one day he will return and THEN by golly, he'll save us all'. These are all the same guy/girl. When Sananda (I'm not talking about the fake jesus here) said 'come out of her my peoples', he meant stop falling in line with the prison machine you're trapped in. Stop acquiescing to your own enslavement. I was told in person that humans 'have to rise up and take their world back or they will never move forward'. It means letting go of fear and stand up for what is right. Enslavement of any kind, is not that. The great deceiver will fool 'even the elect' is not a fictional claim in the M@sonic bible for entertainment. They have to tell you what they're doing in order to have you cast that reality they want to play out in your world. The person who wrote the bible also wrote demonology. [For more on this subject see my article 👉 THE SCIENCE OF PREDICTIVE PROGRAMMING and the 2ND COMING] Why would that be? Because the bible is the most elaborate talisman on earth that hypnotizes those who read it, enslaving their minds to passively accept the chimera reality, so when the simulation glitches, you will second guess yourself instead of the holographic world around you. "Did I just see a bird in the sky not flapping its wings and remaining perfectly still? Of course not, that's preposterous." Mithra the savior was gifted to T-Americaans (America) by Frédéric Auguste Bartholdi of France in 1886. Freddy was a 33rd degree (master) Freem@son and you now call Mithra your 'Statue of Liberty'. She is literally the symbol of this nation and is making her second coming at the time when the economy has been utterly destroyed, your politics have been weaponized against you, your courts have been utterly corrupted, your people have been openly attacked with bioweapons, your country flooded with 20m illegal aliens and your police have been defunded & refuse to arrest criminals. All by design and deliberately manufactured. Albert Pike, 33rd degree (master) Freemason stated: "Whenever the people need a hero, we'll supply him." Almost as if Freem@sons plan TO role out some very hard times to achieve a certain agenda. Oh, that's right, Pike also stated this: “We shall unleash the nihilists and the atheists and we shall provoke a great social cataclysm which in all its horror will show clearly to all nations the effect of absolute atheism; the origins of savagery and of most bloody turmoil. Then everywhere, the people will be forced to defend themselves against the world minority of the world revolutionaries and will exterminate those destroyers of civilization and the multitudes disillusioned with Christianity whose spirits will be from that moment without direction and leadership and anxious for an ideal, but without knowledge where to send its adoration, will receive the true light through the universal manifestation of the pure doctrine of Lucifer brought finally out into public view. A manifestation which will result from a general reactionary movement which will follow the destruction of Christianity and Atheism; both conquered and exterminated at the same time.” Sound familiar? If I were going to infiltrate a world & pose as the savior of the peoples that would be allowed to take the last tiny bits of freedom from them in return for pulling them out of a hellscape, I would first reduce them all to the most quivering and broken mess possible just shy of their death, and arrive like a knight in shining armor. Think a hundred-vehicle motorcade, 500 special-ops swat team & my own rolling hospital. When Trump had to go to court in New York it cost them something like $25m to lock down the city for 1 appearance. Nothing gets more high-profile than that anywhere. You've been under predictive programming since the day you were born for this time when the 'antichrist' would appear (that would 'loose his demons' and tear the world asunder), and also for the 2nd coming to 'save humanity' at the same time. But what you weren't told is these will secretly be the same person. Of course everyone will think it was "Barack" who brought about the destruction because Dolores Cannon alluded to it, but who is actually 'showing you a movie' right now while secretly holding the office of CIC and allowing millions of aliens across the border? Because he's your real border czar. This is armageddon, you're in the 'little season of satan' (Satain). The 1000 years of heaven-like reign ended around 1893, and your entire life has been inside of what you could call hell, where you are literally surrounded by demons you believe are human because they look like you. You know more demons than you do humans. This is actual reality, not fiction. Take at look at Not Op Cue's article on the heavenly heritage of Trump, suggesting why he is the reincarnation of jesus. The evidence is overwhelming. 👉 11:11 I had just flown in from half way across the world to meet up with the keeper of the Tara earth simulation for a mission that would involve some of the most astonishing things I would ever live to see in this life. It was getting late and we were talking in a dark, cramped trailer that the keeper and crew had been reduced down to, illuminated only be a couple of small candles. They had been trapped in an area where they were not allowed to escape from by the Anunnaki hybrids. The dark agencies had frozen their bank accounts, forced them out of their compound and left them homeless for the past few years, on the run daily. My mission was to escort them away from that area to a safe space, as the others who had tried to break them free previously had been maimed and even killed. It took 2 years to pull off, 7 months of which living in a car, but the mission was successful. [That's a story for another time, when I am allowed to talk about it. It involved crazy metaphysical anomalies, black helos, giant venomous snakes (I know that sounds crazy, but the whole thing was way crazier than just that), a cross-leyline vortex acting as protection at the safe house we directly on top of, massive aerial DEW attack, fire tornadoes and 'celestial' escorts. None of this is fiction, just to be totally clear.] I was extremely interested in duplicate numbers on my clocks I was seeing 2-3x everyday and wanted to know what they meant. As the words were coming out of my mouth about this, in the relative darkness suddenly my phone lit up all by itself for no reason with the time in large numbers at 11:11pm, apparently to prove to the keeper I wasn't making this phenomenon up. What is that? I was told duplicate numbers are a distraction, to not give them mind, as it is just numerology the system uses in what I took to mean it is part of the complex mechanism of our simulation that hypnotizes us to keep us from being clear and aware to decipher the holographic illusion around us. The more awake we are, the more the system will flash out 3:33 or 11:11 to put you back to sleep by distracting you from the moment that is taking place in front of you. Such as when the most heralded man in the world shares a video depicting a giant cross which insinuates the 2nd coming of the christ (the Kryst or Krystos, is the series title of the Human Elohim eternal-life bloodline and is not 'a guy'). Discernment is more critical now than any other time since you were born. Pay attention, keep your vibration high and know that the next step is you moving on to the next level of the simulation where Lucifer and Satain will no longer be part of your world. This is but a short time to test which path you want to take moving forward is all. It is the 'sifting' phase of humanity at the end of the final long-cycle of human evolution. If you resonate in fear, hate, anger, you lose. React in love, appreciation, kindness and compassion and never give in to the devolution. You can do this. See my article 👉 THE WORLD TOMORROW for more on what to expect moving forward into your next experience. And yes, you always move on to a new experience, because you're an eternal spirit essence having a human experience in this one drama. The dramas never run out or get too boring, because there are trillions of ways to stage 'living a mortal life'. For more on the separation, you can search these article titles here on X, just add (from:iontecs_pemf) after the title to bring it right up. 👉THE SEPARATION 👉DESTINATIONS AFTER THE SEPARATION 👉THE SURGICAL SEPARATION OF THE 2 PLANES This message will only be seen by your eyes if not shared, and if you want to reference this article again later, you will need to cut and paste it in your own notes off line, as it will surely be erased. This is the most accurate translation of these events I am aware of at this time.

W.R. Schock, QBD

145,211 Aufrufe • vor 2 Jahren

.Christian Rivera (el que dijo que KOI era un equipo de mierda y se dedicaba a acosar a los jugadores) me llama nena en su stream, me dice que no tengo idea de lol y que soy un cagón. Obviando la fantasmada histórica, vamos a hablar un poco de mí y de este estafador: 👇 Lo voy a hacer en inglés para que puedan salir todos sus fanboys (tres o cuatro) y para que no tenga la excusa de la traducción. Yo no necesito esconderme. Le dais al translate y pilláis rápidamente el flow. As for the question of who am I, I think it is the mark of a moron to expect your name to carry your takes. Anyone can and will make plenty of mistakes when talking about complicated and opinionated subjects such as League. I feel context is necessary if you are coming late to what is quickly becoming a shouting match. My beef with Dom is based on me accusing him of basically being a grifter. Someone pretending to understand competitive League at a high level to sell gambling content to unaware kids after, in one of his many desperate attempts to claw his way back into pseudo-relevance, he declared KOI players to be "shit" and made this a running joke within his fandom. These alleged "shit players" in a "shit team" made finals on their first split and worlds on their first year. After upgrading their midlane to Jojopyun, have just now won LEC and made MSI. 2/5 finals, 2/4 internationals and a 3-1 LEC split finals against Cap's G2. Seems to me that, after combining defamatory language with such an ill-informed professional blunder (I don't consider him a analyst but he does, so it is a professional blunder from his pretended pov), it would fall on Dominate to give a proper public explanation. Instead, he hides on his stream while accusing others of cowardice. Let's put a pin on that and come back to the subject of what have I ever done (a weak whataboutism that barely qualifies as an excuse for running a harassment campaign against rookie players). I started taking League seriously and joined the scene as a writer in 2017. By the end of that year I managed to join Mad Lions, a team that would find great success without me during 2018, being that I left within the span of two weeks. After an argument with then coach Araneae, I became disillusioned with the competitive side of League. In this argument my head coach, a veteran player and unarguably successful coach before and since, was adamant about the idea that lane matchups decide strongside. I argued that it is actually jungle windows of play that determine who should get to push the wave. Today, we all know it's a bit of a mixed bag, and winning matchups have evolved much beyond who gets to crash any given wave. We agreed that both of us were people that have a hard time letting go of our opinions and parted ways amicably. To me, what makes League a worthwhile pursuit is exploring the interesting ideas that can be built through it, not necessarily the drive to win. I left the team wanting to use content as a means to an end, as after that argument, I became obsessed with understanding the competitive jungle. It took me a year and a half, and you can call it luck, but I'm actually quite proud of the narratives I was able to push building around that knowledge. By MSI 2019, attended by at the time world champion "Ning" and mechanical prodigy "Clid", I pushed Jankos as the clear best jungler of the tournament. I understand the English speaking community has no way of knowing this, but I faced significant backlash for putting a western player above these two greats. His cover style of jungle allowed G2 to greedily succeed in getting the most of their flex-heavy drafts that often landed them on the winning side of matchups, and coasted them into a midgame where they found no match. G2 took that tournament and set a record for the quickest international finals. By the time EU legend Jankos arrived at worlds, many had them as the key player/mvp that made 2019 G2 work. This time, even though most experts had Clid as clear top 1 jungler and I had just found success (maybe luck?) through Jankos, I actually pushed Tian as the top 1. Admittedly, this one is kind of murky, since it was Doinb's understanding of midlane windows that actually had Tian play the peak of his career. Still, the fact remains that FPX brought the best jungle/river play system and ended up taking the tournament. Finally, after a clear-cut exceptional Canyon that dominated 2020 and pushed the limits of what jungle efficiency is (hard to argue against his inherent quality nor was I ever inclined to do so), I had Wei as my top jungler for 2021's MSI. This time, professional junglers (with whom I had an amicable relationship, this was not in bad faith) wrote to me privately, joking about how they were expecting for the tournament to end and Canyon to stomp Wei so they could laugh at me publically and quote-RT my tierlist. I was committing the sacrilege of putting some chinese guy above the best jungler to ever play the game, in the tournament following his peak performance. Sadly, their time never came. Wei's mastery of damage limits and unique skill with the Rumble pick (which was disgustingly broken, even if only one guy could actually play it, never mind what Phreak's winrate analysis told you) made Canyon's Morgana spam look disappointing to say the least. Bear in mind that Canyon is still in my mind the best jungler to ever play the game, he just wasn't in his best form at that particular MSI. Call it luck if you want, but bringing three dark horse takes in a row and have them all pay you back is no easy feat. Ask Dom how his KOI take is doing, I don't think he's too happy with it. I can't sit here with you and spend all day exploring every bullseye I've ever gotten (there isn't enough room in a tweet), but I can tell you a few more. Had Fnatic becoming a dysfunctional team over Razork´s transition from selfish jungler into adc lapdog, recently confirmed by Vladi in chat (I think he is a bit better than Dom at the game). Had "Nisqy will never make an international tournament ever again" after he parted ways with Elyoya, while other content creators were pushing the opposite. We had to sit for years and pretend he was enabling Elyoya to look good and not the other way around. Nisqy seems like a fun guy, I'm actually low-key a fan of his, but I don't build my takes on whose dick I can suck deep enough so that they might show up on my stream and give me credibility by association (unlike other people). I had 2023 T1 beating JDG when the narrative was JDG's royal road. How? Because since MSI 2022 I've been pushing every team to study T1's early vision system. Like, I literally said over and over again, whoever is not studying this team's early vision system is hard trolling. Recorded several videos on it. This is before Faker ever made world finals against DRX. Back when I was saying T1 had revolutionized competitive League of Legends, accusations were that T1 were washed and chokers (remember which side of that narrative jungle soloq genius IWD was on?). After they made three World's finals in a row and won two of them, it seems like I was onto something, wasn't I? I also made a very controversial video in 2022 that titles "The Second Korean Age", speaking about how T1's advancement in vision systems would push Korea ahead for years to come. It was pretty controversial back then, in 2022, when China had won 3/5 of the last world championships. Now Korea has won three years in a row, not so controversial anymore. Lucky again. However, my proudest work is not something that seems that impressive at first glance. It's called "Pyramids towards 13.19". It's a work that explores the evolution of season 13's World's metagame, drawing a paralellism between understanding a patch and the religions in the lost city of Teotihuacán, wherein they'd build towards the sky in order to get a bit closer to the gods without any possible end to that process. Just as a side note, I also have a video about how laning between turrets is sleeper op and Riot will have to nerf it eventually. T1 and some Chinese teams were toying with it last summer, but everyone focused on swaps instead (as they were easier to build and had a more solid body of working examples). I recorded my theory in 2023 MSI and watched the best teams in the world converge on it a year later. There is more stuff like this, but again, I can't list it all. Not bad for a nobody, I wonder how that compares to knowing what item is op on Volibear in terms of respectable and interesting knowledge of the game. I often get professional coaching offers, including at the LEC level, despite only having two weeks of experience on the job. I've made a habit of declining them in order to keep working on what I consider to be interesting. Other than that, I've built quite a successful private media platform centered around analytical pro League discussion (that thing everyone tells you no one actually cares for) in a dwindling ecosystem where no one understands what people care about enough to pay for. I'd say that's pretty impressive in and of itself. As far as I can see, your numbers keep going down, so maybe I can help you with that too. So at this point I wonder, at which point am I allowed to ask what has Dominate ever done? Other than harassing players, a pattern older than his beef with KOI. I remember he used to gloat and act like an absolute turd, reacting to Rekkles' tears for YouTube views back when he had that string of public breakdowns. Is this a moral standard on which he gets to call me out on the crime of (and I wish I was kidding), posting a screenshot without context and then defending the Kcorp player "Vladi" in it to my Spanish-speaking fans? What a fucking ass I am. I wish I could harass kids online, sell gambling to minors, and bully people having public breakdowns so I could have the legitimacy of a real, tried-and-true voice of the community. The absolute gall to call me a pussy while you hide behind reaction content disguised as insight, a parasite of the co-streaming era of content, while I put my best foot forward building interesting stories that no one is talking about and get proven right; over and over. How is that KOI take aging mate, are you proud of that one? Where are your deep explanations? The actual content, where is it? Other than ragebaiting I mean. I'd really love to check it out, since you are sooo good at clicking with Udyr on the NA server. I want to remind everyone, as this can't be stressed enough, that this whole beef is about a guy making a shit (joke intended) take. Posing as a respectable professional to sell gambling while completely uninformed, driving a harassment campaing against players he knows nothing about, and then being butthurt that some Spanish guy calls him out on his pattern of abuse. You see, my mistake was that he can get Challenger on Dr. Mundo or whatever the fuck he plays, which somehow turns this into a debate and not someone being called out for acting like an absolute asshole. Then it invalidates my whole career, as I don't speak 3rd grade English natively and am unwilling to leave behind my people who supported me from the beginning. All I know about you, Dom, is that you are a bully who seems to enjoy it. Believe it or not, I'm not eager to get into a screaming match while I teach you league for free, all while joining your stream that averages similar numbers (while having streaming rights for years) as mine does broadcasting a stopwatch whenever I feel like streaming once in a blue moon. I don't think it takes courage to do that. It takes pity, of which I don't have enough for you, or perhaps a morbid curiosity for whatever might you say when actually confronted by a human. But I don't have that either, since I already know what you are going to say, the same thing you always say. "One time, ten years ago, I almost was"
0:38

.Christian Rivera (el que dijo que KOI era un equipo de mierda y se dedicaba a acosar a los jugadores) me llama nena en su stream, me dice que no tengo idea de lol y que soy un cagón. Obviando la fantasmada histórica, vamos a hablar un poco de mí y de este estafador: 👇 Lo voy a hacer en inglés para que puedan salir todos sus fanboys (tres o cuatro) y para que no tenga la excusa de la traducción. Yo no necesito esconderme. Le dais al translate y pilláis rápidamente el flow. As for the question of who am I, I think it is the mark of a moron to expect your name to carry your takes. Anyone can and will make plenty of mistakes when talking about complicated and opinionated subjects such as League. I feel context is necessary if you are coming late to what is quickly becoming a shouting match. My beef with Dom is based on me accusing him of basically being a grifter. Someone pretending to understand competitive League at a high level to sell gambling content to unaware kids after, in one of his many desperate attempts to claw his way back into pseudo-relevance, he declared KOI players to be "shit" and made this a running joke within his fandom. These alleged "shit players" in a "shit team" made finals on their first split and worlds on their first year. After upgrading their midlane to Jojopyun, have just now won LEC and made MSI. 2/5 finals, 2/4 internationals and a 3-1 LEC split finals against Cap's G2. Seems to me that, after combining defamatory language with such an ill-informed professional blunder (I don't consider him a analyst but he does, so it is a professional blunder from his pretended pov), it would fall on Dominate to give a proper public explanation. Instead, he hides on his stream while accusing others of cowardice. Let's put a pin on that and come back to the subject of what have I ever done (a weak whataboutism that barely qualifies as an excuse for running a harassment campaign against rookie players). I started taking League seriously and joined the scene as a writer in 2017. By the end of that year I managed to join Mad Lions, a team that would find great success without me during 2018, being that I left within the span of two weeks. After an argument with then coach Araneae, I became disillusioned with the competitive side of League. In this argument my head coach, a veteran player and unarguably successful coach before and since, was adamant about the idea that lane matchups decide strongside. I argued that it is actually jungle windows of play that determine who should get to push the wave. Today, we all know it's a bit of a mixed bag, and winning matchups have evolved much beyond who gets to crash any given wave. We agreed that both of us were people that have a hard time letting go of our opinions and parted ways amicably. To me, what makes League a worthwhile pursuit is exploring the interesting ideas that can be built through it, not necessarily the drive to win. I left the team wanting to use content as a means to an end, as after that argument, I became obsessed with understanding the competitive jungle. It took me a year and a half, and you can call it luck, but I'm actually quite proud of the narratives I was able to push building around that knowledge. By MSI 2019, attended by at the time world champion "Ning" and mechanical prodigy "Clid", I pushed Jankos as the clear best jungler of the tournament. I understand the English speaking community has no way of knowing this, but I faced significant backlash for putting a western player above these two greats. His cover style of jungle allowed G2 to greedily succeed in getting the most of their flex-heavy drafts that often landed them on the winning side of matchups, and coasted them into a midgame where they found no match. G2 took that tournament and set a record for the quickest international finals. By the time EU legend Jankos arrived at worlds, many had them as the key player/mvp that made 2019 G2 work. This time, even though most experts had Clid as clear top 1 jungler and I had just found success (maybe luck?) through Jankos, I actually pushed Tian as the top 1. Admittedly, this one is kind of murky, since it was Doinb's understanding of midlane windows that actually had Tian play the peak of his career. Still, the fact remains that FPX brought the best jungle/river play system and ended up taking the tournament. Finally, after a clear-cut exceptional Canyon that dominated 2020 and pushed the limits of what jungle efficiency is (hard to argue against his inherent quality nor was I ever inclined to do so), I had Wei as my top jungler for 2021's MSI. This time, professional junglers (with whom I had an amicable relationship, this was not in bad faith) wrote to me privately, joking about how they were expecting for the tournament to end and Canyon to stomp Wei so they could laugh at me publically and quote-RT my tierlist. I was committing the sacrilege of putting some chinese guy above the best jungler to ever play the game, in the tournament following his peak performance. Sadly, their time never came. Wei's mastery of damage limits and unique skill with the Rumble pick (which was disgustingly broken, even if only one guy could actually play it, never mind what Phreak's winrate analysis told you) made Canyon's Morgana spam look disappointing to say the least. Bear in mind that Canyon is still in my mind the best jungler to ever play the game, he just wasn't in his best form at that particular MSI. Call it luck if you want, but bringing three dark horse takes in a row and have them all pay you back is no easy feat. Ask Dom how his KOI take is doing, I don't think he's too happy with it. I can't sit here with you and spend all day exploring every bullseye I've ever gotten (there isn't enough room in a tweet), but I can tell you a few more. Had Fnatic becoming a dysfunctional team over Razork´s transition from selfish jungler into adc lapdog, recently confirmed by Vladi in chat (I think he is a bit better than Dom at the game). Had "Nisqy will never make an international tournament ever again" after he parted ways with Elyoya, while other content creators were pushing the opposite. We had to sit for years and pretend he was enabling Elyoya to look good and not the other way around. Nisqy seems like a fun guy, I'm actually low-key a fan of his, but I don't build my takes on whose dick I can suck deep enough so that they might show up on my stream and give me credibility by association (unlike other people). I had 2023 T1 beating JDG when the narrative was JDG's royal road. How? Because since MSI 2022 I've been pushing every team to study T1's early vision system. Like, I literally said over and over again, whoever is not studying this team's early vision system is hard trolling. Recorded several videos on it. This is before Faker ever made world finals against DRX. Back when I was saying T1 had revolutionized competitive League of Legends, accusations were that T1 were washed and chokers (remember which side of that narrative jungle soloq genius IWD was on?). After they made three World's finals in a row and won two of them, it seems like I was onto something, wasn't I? I also made a very controversial video in 2022 that titles "The Second Korean Age", speaking about how T1's advancement in vision systems would push Korea ahead for years to come. It was pretty controversial back then, in 2022, when China had won 3/5 of the last world championships. Now Korea has won three years in a row, not so controversial anymore. Lucky again. However, my proudest work is not something that seems that impressive at first glance. It's called "Pyramids towards 13.19". It's a work that explores the evolution of season 13's World's metagame, drawing a paralellism between understanding a patch and the religions in the lost city of Teotihuacán, wherein they'd build towards the sky in order to get a bit closer to the gods without any possible end to that process. Just as a side note, I also have a video about how laning between turrets is sleeper op and Riot will have to nerf it eventually. T1 and some Chinese teams were toying with it last summer, but everyone focused on swaps instead (as they were easier to build and had a more solid body of working examples). I recorded my theory in 2023 MSI and watched the best teams in the world converge on it a year later. There is more stuff like this, but again, I can't list it all. Not bad for a nobody, I wonder how that compares to knowing what item is op on Volibear in terms of respectable and interesting knowledge of the game. I often get professional coaching offers, including at the LEC level, despite only having two weeks of experience on the job. I've made a habit of declining them in order to keep working on what I consider to be interesting. Other than that, I've built quite a successful private media platform centered around analytical pro League discussion (that thing everyone tells you no one actually cares for) in a dwindling ecosystem where no one understands what people care about enough to pay for. I'd say that's pretty impressive in and of itself. As far as I can see, your numbers keep going down, so maybe I can help you with that too. So at this point I wonder, at which point am I allowed to ask what has Dominate ever done? Other than harassing players, a pattern older than his beef with KOI. I remember he used to gloat and act like an absolute turd, reacting to Rekkles' tears for YouTube views back when he had that string of public breakdowns. Is this a moral standard on which he gets to call me out on the crime of (and I wish I was kidding), posting a screenshot without context and then defending the Kcorp player "Vladi" in it to my Spanish-speaking fans? What a fucking ass I am. I wish I could harass kids online, sell gambling to minors, and bully people having public breakdowns so I could have the legitimacy of a real, tried-and-true voice of the community. The absolute gall to call me a pussy while you hide behind reaction content disguised as insight, a parasite of the co-streaming era of content, while I put my best foot forward building interesting stories that no one is talking about and get proven right; over and over. How is that KOI take aging mate, are you proud of that one? Where are your deep explanations? The actual content, where is it? Other than ragebaiting I mean. I'd really love to check it out, since you are sooo good at clicking with Udyr on the NA server. I want to remind everyone, as this can't be stressed enough, that this whole beef is about a guy making a shit (joke intended) take. Posing as a respectable professional to sell gambling while completely uninformed, driving a harassment campaing against players he knows nothing about, and then being butthurt that some Spanish guy calls him out on his pattern of abuse. You see, my mistake was that he can get Challenger on Dr. Mundo or whatever the fuck he plays, which somehow turns this into a debate and not someone being called out for acting like an absolute asshole. Then it invalidates my whole career, as I don't speak 3rd grade English natively and am unwilling to leave behind my people who supported me from the beginning. All I know about you, Dom, is that you are a bully who seems to enjoy it. Believe it or not, I'm not eager to get into a screaming match while I teach you league for free, all while joining your stream that averages similar numbers (while having streaming rights for years) as mine does broadcasting a stopwatch whenever I feel like streaming once in a blue moon. I don't think it takes courage to do that. It takes pity, of which I don't have enough for you, or perhaps a morbid curiosity for whatever might you say when actually confronted by a human. But I don't have that either, since I already know what you are going to say, the same thing you always say. "One time, ten years ago, I almost was"

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