The Mazzaroth Game
If we are living in a virtual reality game, it makes sense that there is information players can use to know the rules and scenario of the game. Since the main opponent - the predator - managed in the early stages of the game to conceal the rules and scenario details, they have to be discovered or it becomes almost impossible to win and level up.
This is a very old game that has run for thousands of years, meaning we are dealing with an extremely long time-frame.
The Book of Job, said to be the oldest and most profound of manuscripts, could help us to understand the game now in the process of co-creation by the collective Daemon, controlled directly by the game Developer or Creator.
William Blake Book of Job
The central theme of Job is our personal relationship with our creator, who gets really lonely when we don't call Home. So rule number one is that players have to call Home at least once a day or the creator starts making up all sorts of stories about why you're not checking in. It doesn't matter how hard the game gets and how much you are sacrificing for your children, you have to call Home. If you don't, the creator has been known to send a side-kick to mess up the 'reality' you've constructed for yourself, to prod you to remember to check in and make the creator privy to what you're up to. The creator is after all also a player in the game, though there is a dimensional issue that makes interaction difficult, so it's easy to forget about the invisible, silent ally. But the creator wants to be part of all the action; we just have to keep a channel open so that the creator can tap into the 3D adventure.
Calling Home can only happen when we know the secret of fire and ice.
The secret of fire is easy – it burns constantly and even when you die, it is received by the creator and given back to you when you start the game again. If you haven't levelled up, you have to repeat that level until you're able to level up.
The secret of ice is a bit more difficult. Water is the memory which, at the end of each game, we bring to the creator so that we can have conversations around what it felt like to be matter. This happens every 3,600 years or so. This collection of water is the creator's only way of sharing the full experience of the Terra creation. However, the predator has infected our collective water, so it has a tendency to become ice. In ice form, only logic, counting and control can be practiced. (Refer to the teaching fable of the Snow Queen. Retold by Naomi Lewis, Illustrated by Angela Barrett.)
Ice cuts off the soul's flow ability that creates the altered state necessary to check in with the creator. Ice is deeply sunk into the material world of pain. Think ice-berg. (Cold-blooded life forms are used in visual symbols and in faery tales to convey this idea of the predator.)
It's really important to vanquish the predator, because its influence creates a downward spiralling vortex that can take you all the way back to noob status in the shadow mirror world, where you may have to compete with hyenas for left-over savannah kill and rediscover control of fire.
Pieter Hugo photography of hyena handlers, known as Gadawan Kura, from Lagos in Nigeria.
So how does one vanquish the predator?
First you have to understand that the predator is in you, as Don Juan said. It is in your mind. It is the thing that makes you behave like a complete idiot, unless you can control it. It is reptilian brain, boss man, Gurdjieff's kundabuffer, monkeybrain, psychopath, god of wrath. It loves to see blood flow and children tortured. When it is in control, it can turn the game into a total nightmare.
In fact, it has been in control and has created its own shadow game which keeps sucking in the souls of dead or zombified humans and spewing them back into the same shadow mirror game over and over, so it can feed on endless fearful lives and horror deaths.
When the sickle moon rocks on the Pisces timeline, we are assured that this shadow land is governed by appearing and disappearing, ebb and flow, birth and death, life and decay, the face of the moon and the Shadow. In the mirror fragmented, downward spiralling vortex of Daarth, you have only limited control of your own gifts and abilities. You are greatly disadvantaged here, especially if you are creative and free spirited. You want to be doing everything in your power to dance a little left and up to catch the upward spiral ride to jump out of the shadow mirror game, into any number of awesome new game scenarios. You can't do this if Ice is controlling your mind. To make sure it isn't, you have to hand the Ice up to the creator, placing it on an altar that looks like a crown above your head. Here ice will thaw and lizards roast in cleansing fire straight from the creator.
So remember to check in with the creator and offer up the ice for thawing, the lizard for roasting.
You are solely responsible for this process. Nobody else can do it for you. No priest, magician, sage or advanced intelligence. This is a constant daily task, especially when faced by fellow game players who are fully in ice-mode.
Catch-up scenario sketch:
Just as we have cycles of dawn, day, twilight and night; spring, summer, autumn and winter, there is a much longer cycle to do with our sun's own galactic travels that can be tracked only via the fixed stars and constellations. We have been in Pisces for over 3 000 years and are now moving out this dualistic, left brain/right brain nightmare level towards the holistic water bearer.
There are many long-count systems that show how this operates. The Mazzaroth, referred to in Job, is a system like this, though it has been out of general knowledge for a long time, hidden by the predator. However, mythologies - many of which are teaching stories rather than fantasies about incredible powers at play - also refer to this.
It appears that the Mazzaroth is a cosmic memory palace of stories to describe the influences exerted on Terra as it moves around the very long cycle. Our galaxy (which also has its own orbit) is at present intersecting with another galaxy, something that happens every 56 000 years or so. The stories relate to constellations as they rise on stipulated horizons, for instance the Giza sphinx. (Would love to know more about this.)
Many other stories and cryptic art talk to this concept.
There is Orpheus's descent into the underworld, going from long-term summer into long-term winter to eventually again arrive again at dawn after thousands of years - the move out of Pisces into Aquarius. He starts his descent carrying a fishing rod and returns in feminine guise carrying a pail and the fruits of a very long labour through the signs.
The Orphic Sacramental bowl, Rumania, 3rd or 4th century A.D.
In Job, there is a discussion about Leviathan and how to 'hook' it. This is the major background challenge, which is to be done in conjunction with the creator. (The opening chapters of Joseph Campbell's Creative Mythology, the Masks of God are of great value here.) Interesting to note in Egyptian art how the Sun is often seen with several arms reaching down.
The image of a man on the cross symbolises that the player is to use itself, fixed as bait to the cosmic time frame, in order to identify and hook Leviathan or the predator, working in conjunction with the creator.
God, the Father, Fishing. 1180 A.D.
An amazing cryptic clue identifying Orpheus (creative genius) as the true divinity in an engraving of man on the cross (ourselves tied on the cross of horizontal time (soul, water) and vertical purpose (spirit, fire). Above the cross is the sickle moon, showing that the player is in duality, life and death, growth and decay. Above are the 7 heavenly bodies (planetary archetypes) players need to master, by frying their shadow or fallen nature. 300 A.D.
http://greekerthanthegreeks.blogspot.co.za/2017/01/greek-mythology-twelve-labours-of.html
The 12 tasks of Hercules could very well be a map that tells players that there will be certain obstacles to overcome (over several lifetimes). Once you start looking, the clues are everywhere in mythologies, faery tales and art.
All of these story lines make the same point. During our descent into play as bait, we will be both victims and victimisers, masters and whipping-boys. From these experiences, we learn the art of discernment – what is true, what is false, what is noble. Symbolically, we have to be the unicorn, developing our own spiralling horn from the pineal to draw us towards the gentle creator (a virgin womb), the only being to whom it will submit.
This is the game plan. We are emissaries charged with the task of helping to hook the destructive, vile energy that bedevils humanity, with the help of our collective Daemon, who, through imaginative episodes, feeds us constantly with clues in dreams, visions, art, poetry, craft, design, etc. All compliments of the vast uncharted ocean of collective consciousness we find ourselves in.
We are approaching the end of the game. Like Jonah, we will be able to emerge from the fish in whose belly we have been living. If we have our light and purified water intact, we are able to jump to the world of our collective dream and 'level up'.
Tantalus – thirst
Narcissus – falling in love with the shadow of your own mind
Doubt – first step to knowledge
...the pettyfoggers of the law, the greatest haters of philosophy, who with the hammer of a venal tongue coin themselves money out of the tears of the miserable: who shipping over the most sacred of laws, have by the intricacies of their expositions persecuted all the world with their frauds.
Book of the Chemical Art – Marsilius Ficinus 15th century
Blessed is that physician who knows our soothing medicinal Potion of Mercury, the great panacea of death and disease. But God does not reveal this glorious knowledge to all men indiscriminately; and some men are so obtuse (with a judicial blindness) that they wonder at the activity of the simplest forces of Nature, as, for instance, the attractive power which the magnet exercises upon the steel. But (whether they believe it or not) there is a corresponding magnetic force in gold which attracts Mercury, in silver which attracts copper, and so with all other metals, minerals, stones, herbs, plants, etc. We must not be surprised at this persistent opposition to truth: the light of the sun pains the eyes of owls.
[...] belief or unbelief could not make any difference to the truth of our Art, just as a magnet would go on attracting steel, and rendering it magnetic by such contact, even if you did not credit it.
Golden Calf, by John Frederick Helvetius, 17th Cen.
