Tales
of the Abyss,
a role-playing game for Sony’s PS2 and later for Nintendo’s 3DS handheld, has
some inward and outer aspects that ought to be highlighted.
Outwardly,
it is a garden of delights for men who share Nietzsche’s view of things. The main story revolves around the
determination of a group of men and women led by a fellow named Van to stamp
out the ruling religious orthodoxy of the planet, which involves following to
the letter a prophetic utterance called Yulia’s Score, which is described in
the game as the collective memory of all the people of the world. It is therefore not a stretch to say that the
Score is a symbol of an all-knowing, providential God.
There
is a rather clear message put forward by this game’s writers about those who
defend religious orthodoxy: They are
monsters. Grand Maestro Mohs is so
determined to see the Score followed that it leads to his transformation into a
hideous creature that lacks even basic rationality.
On
the other hand, those who try to overturn the Score and replace it with human
will, whether the extreme of Van and his group who want to destroy it utterly
or the milder form of relativism (the Score can continue to exist, but we don’t
have to follow it to the letter) of Luke and his allies - all of these are
presented with a certain air of compassion and nobility of soul.
It
is interesting to note the meanings associated with the name of the hero,
Luke. On the one hand there is the
association with the Apostle and Evangelist Luke, the physician, and thus with
healing. And that element of healing is
present to a degree with Luke in this game.
But more deeply, Luke means ‘light’ (http://www.abarim-publications.com/Meaning/Luke.html), which carries with it
the association with Lucifer, the bright and morning star who fell from Heaven
with the demons. Given that he and his
friends bring an end to the religious orthodoxy of the Score, the Luciferian seems
to be Luke’s true nature in TotA.
As if to leave us with no doubts on this point, the game’s creators
emblazoned a demonic image on the back of Luke’s clothing that the player sees over
and over again:
Such
a worldview is very Nietzschean in its orientation: Let us kill God and become gods in His place;
this is the message to all the gamers who sink dozens of hours into this RPG.
Inwardly,
Tales of the Abyss is an initiation into Kaballah. Many of the game’s pieces are taken straight
from that cult. The outer lands are
supported by Sephiroth Trees, a sephiroth being one of the ten different nodes
or spheres found on Kaballah’s ‘Tree of Life’, which also has its own
supporting columns:
--Picture
from http://luminanti.com/tfkab3pillars.html
Some
of the place-names in this game are the same as (or slight modifications of)
Kaballah’s sephira: Chokmah, Daath,
Malkuth, and others. The space beneath
the Outer Lands, the Qliphoth, is also a Kabbalistic term, signifying a land of
darkness/evil (https://en.wikipedia.org/wiki/Qliphoth). And the word ‘abyss’ from the very title of
the game, is the void sundering unpurified man from the ‘supernal triad’ in the
Kabbalistic system:
The
dividing of Luke into two, into Luke and Asch, is also borrowed from Kaballah:
'Adam Kadmon is Primal Man, the Heavenly Adam, the Original Man. In the
strictest sense he is the emanation of the Divine in Atziluth (the World of
Emanation, see below), but he also radiates in the other three Worlds. It is
man as he originally was, and actually still is although he does not realize it
anymore, because his consciousness has split. Part of him is still close to the
Divine, while the other part is here on earth. That is why it is said that he
has two faces.'
We
do not think anyone would be far wrong in saying that the game involves to a
great degree the ascent of Luke up the Tree of Life, from the darkness of the
lowly physical passions of Malkuth (his anger and selfishness, etc.) to the
exalted spiritual light and life of Kether (acquiring love and self-sacrifice
for others), i.e., his transformation into Adam Kadmon.
It
is also worth noting that in the Qliphoth there is a group called the Watchers
who guide the events of the Outer Lands according to Yulia’s Score. This is akin to the shadowy groups like the
Aspen Institute, the Council on Foreign Relations, and others who, while
remaining in the background, are guiding events in this world according to a
predetermined globalist agenda.
There
also appears to be some influence from Aleister Crowley in this game. Ion, who is the acknowledged spiritual and
political head of the world, is only a boy.
This is very much in the spirit of Crowley’s ‘crowned and conquering
child’ whom he envisioned would reign in the post-Christian era he tried so
hard to inaugurate. With the Orthodox
Empire overthrown and the Orthodox Church weakened by internal and external
trials, we have seen that vision partially fulfilled, as youth worship pervades
the cultures of the States, Japan, South Korea, and so on.
And
there is also an interesting link between this game and the movie Goonies
via the name of Astor. In TotA,
Astor is the leader of the merchants’ guild in Chesedonia, the Center of Trade
(https://aselia.fandom.com/wiki/Chesedonia), and who always comes
off as very creepy. There is good reason
for that, as he shares his name with John Jacob Astor. Jay Dyer explains about John Jacob:
The other interesting fact about the choice of “Astoria” is that
it is named after the United States’ first multi-millionaire family, from John
Jacob Astor. Astor achieved a monopoly in the fur trade, but more was at
work here: Astor was master of Lodge
No. 8, “Astor was a Freemason, and served as Master of Holland
Lodge #8, New York City in 1788. Later he served as Grand Treasurer for the
Grand Lodge of New York.” In other words, he was already well-connected,
prior to his supposed rise to wealth, and these connections likely enabled his
monopoly. Another path to his wealth was drug trafficking – particularly
opium, which would make his pedigree as a masonic bonesman even more
likely – a pirate.
Keeping in mind these are the same Eastern establishment
Anglo-elites (though here we mean West Coast), John Coleman explains:
“John Jacob Astor made a huge fortune out of the China opium trade
…. it was the Committee of 300 who chose who would be allowed to participate in
the fabulously lucrative China opium trade, through its monopolistic British
East India Company, and the beneficiaries of their largess remained forever
wedded to the Committee of 300.”
Fritz Springmeier writes:
“One result of his fur company, was that Astoria, OR was created.
Today, perhaps in honor of the family that originally took interest in it,
Astoria is a hot-bed for the secret Satanic covens in Oregon. John Jacob Astor
did have a few helpful connections. Three of his relatives were captains on
clipper ships, and he had connections in London to the Blackhouse family. He married
a Todd, a family frequently associated with Satanism. His wife, a Todd, was
also connected to the influential Brevoort family. And finally for some reason,
John Jacob Astor maintained good relations with the politicians of the day,
perhaps because most of them were Freemasons, too.”
Both
Astors being involved in trade and such is very coincidental and makes us
suspect that the Tales creators were inspired in some way by the Oregon
Astor.
Things
to Come
One
of the uses of studying high-profile games and movies is in seeing what they
foreshadow. The Elite often reveal
through them what is in store for the wider public, for the ‘unwashed masses’. Here are some themes we have seen both in this
game and in other games, films, etc.
--Cloning
(fomicry) will become commonplace. At
some point, however, they will be abused, but will sacrifice themselves for the
‘originals’ in order to forestall a catastrophe. In other stories, however (like seaQuest
and Star Wars), the clones revolt against their makers.
--Dawn
Age technology (fon machines) is much more advanced than later technology in TotA. This is too common a theme not to see in it
some kind of conditioning for a future revelation in this world. We could be wrong, but its presence is
interesting.
--Catastrophe
as the great uniter: Old feuds are put
to rest in TotA in light of the various emergencies that unfold during
the game’s story. We in this world are
already seeing the beginning of global government proposals to deal with the
manufactured crisis of climate change.
Other ‘crises’ will almost certainly be trotted out to give greater
urgency for the solution of a single world government.
--The
Tower of Rem: In the Dawn Age of TotA
an idea was presented to transport people away from the poisoned and dying
world to another world via the Tower of Rem.
This idea of a refugee world is also presented in the space opera Interstellar,
reviewed by Jay Dyer here:
It
also was the basis of the short-lived TV series Earth 2:
--Planet
Storm and the hollow interior of the world:
There may be more going on in the earth’s mantle and core than we have
been told by the powers that be. This
theme has been around for quite a while:
--Eldrant: The appearance of a ‘Glorious Land’, a phony
Eden (Atlantis, Shambhala, etc.), may occur to further man’s fall away from God
in these last days.
Such
is entertainment in the world today. Caveat
emptor.
--
Holy Ælfred the Great, King of England,
South Patron, pray for us sinners at the Souð,
unworthy though we are!
Anathema to the Union!
