Rambling 254: Necromancy
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Why were sorcerers interested in figures like Jesus Christ and King Arthur? Why are figures like Jesus Christ and King Arthur interested in sorcerers? And why is everyone else scrambling to come face to face with them? The duo deep dive into Sorcerers, but more specifically Necromancy.
+Episode Details
- Ancient Technology
- Portals
- Controlling Shadow Energy
- Remote Controlled Devices
- Astral Magic
Official Website - https://greythoughts.info/podcast
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+Transcript
Cristina: Warning. This program contains strong themes meant for a mature audience. Discretion is advised.
Jack: Going live in 5, 4.
Cristina: What does live mean?
Jack: Welcome to the Rambling Podcast. I am your host, Jack.
Cristina: I am your host, Christina.
Jack: And this is the show where we ground humanity. Most absurd and baffling ideas. And then thunder.
Cristina: And that's thunder.
Jack: Sure. Yeah. And you hear the screen flashes for people who are watching, for the people who are tuning in on space satellite on space tube.
Cristina: They can't just be watching us on YouTube.
Jack: How are they gonna watch us on.
Cristina: YouTube on our channel?
Jack: Oh, I. I guess in theory they're watching a screen that just. I mean, some people probably do that. I bet there's somebody, at least one human somewhere that shows up, sits in front of a YouTube screen, tunes into a podcast that does not have a visual element, clicks a video, and then sits down and just stares at the screen until the show's over.
Cristina: There's no way.
Jack: How is that any different than somebody who just sits and listens to music for a long period of time? Or somebody who sits.
Cristina: You're not looking at a screen to do those things. No one puts on a screen to listen. If they are, they're reading the lyrics. They're not just watching a blank screen playing music.
Jack: Fair enough. Fair enough. Fair enough. Is. Is nothing happening on the screen? It's a question. Because if there was an equalizer, then at least the argument is there's an equalizer.
Cristina: Okay, that's a little different. I guess that would make sense if someone's watching it or not.
Jack: I say equalizer. Visualizer. You know what I mean?
Cristina: Really watch it.
Jack: It's like a background art thing.
Cristina: Yeah.
Jack: Which is cool, I guess. That's such a futuristic thing that I think we under appreciate.
Cristina: It's like, what's the music that they have? Like live music. Study too. Study two in on YouTube. Like they always have that girl. Yes. Loy with a girl on her computer with a cat. And it has a little animation that's super simple that just plays over and over and over again, but you're not really focused on it. Yeah, it's just there.
Jack: But these visualizations aren't necessarily absolutely aimless. Some of them transform and move to the beat and the texture of the music that's playing and their shape moves accordingly. It's not just random shapes. These higher quality ones actually move to the beat. It's not like these loafy beads.
Cristina: What are you saying our podcast is like that?
Jack: I don't even know what I was saying was like that. Our podcast no.
Cristina: Music that has the videos that are. That. For people to watch that aren't actually looking at lyrics or an actual video.
Jack: Oh, I guess. Yeah, yeah, yeah, yeah, yeah. Our YouTube thing is essentially that.
Cristina: Which is. What's it called?
Jack: What is. Wait, I'm so confused.
Cristina: I'm like the thing that's. They're watching. Following the voices or music.
Jack: The visualizer.
Cristina: Oh, that's what it's called? Yes, that's what I'm asking.
Jack: Okay. The visualizer is like the anomalous shape of colors. You know what I'm talking about? That's on a screen in like, let's say it's early 2000s. You have. We're still before the big transition to everybody's own smartphones. And you have a. Either a desktop that's old or a laptop that's new. One or the other is occurring. And you have a bunch of music. Music stolen from some website that you downloaded them from, or you went to a music store, downloaded them, and burned them on to a music player so you could hear them through your computer without having to put the CD in, maybe some collection of sorts. And you play them through the player. The player always had the option where you hit the thing and then boom. There's a weird thing with colors, right? And it morphs and shapes and does all this.
Cristina: Didn't one of the PlayStations have that?
Jack: Did it? Like PlayStation 3, maybe 2. Really, 2? Oh, I don't even know. D***. I don't know. But maybe. Absolutely. I don't. I Bet the current PlayStations all had them and have them. This never really looked, but I bet that's the thing. Yeah, for sure. And like, there are very complicated ones that move with the music. So I don't even know what my point was, but our show, they could go watch our show and sit down. So I guess. Oh. My point was that somebody would. Couldn't. Can in theory, sit down and watch something like that, but then they're technically still watching something happen. So if you want, in theory, you can just play the episode with a visualizer that syncs to it. Yes, that's weird because of our voices, but you're essentially seeing an anomalous blob speak to you, and it sounds like many people having a conversation. That's cool. Futuristic, least speaking.
Cristina: Weird, but okay.
Jack: Mm, very strange. But now I'm very intrigued. An anomalous blob that plays a podcast to you through a screen fire.
Cristina: Yeah, Maybe someone does that.
Jack: Yeah.
Cristina: I don't know.
Jack: F*** it, why not? Cool as H***, anyways, totally related to that absolutely relevant bit of information. We have lately been looking at a bunch of different things.
Cristina: Always.
Jack: As always. And so I'll tell you where this really begins. This is going back in time flashback to the year 1974 when it was.
Cristina: Raining that far away.
Jack: Can you imagine like out of all these timelines we've spoken that are up to several million years back so far that I'm like a long time ago and I'm like 1970. Yeah.
Cristina: So weird. Also was there you said Raining Men.
Jack: It was Raining Men.
Cristina: Does that song come out in that year or something?
Jack: No, but I was hoping I totally guess and got it right. So maybe it did. I actually have no idea. I Bet that's an 80s song though.
Cristina: Oh okay.
Jack: I bet that's late 80s, early 90s. I'm not entirely sure.
Cristina: It's 1930-1983-1983-1983.
Jack: I am off by nine years. Nine years.
Cristina: The people that sung it were called the Weather Girls. Where all their songs like themed.
Jack: Oh my God. The Weather Girls. Okay. So chances are they made. They became famous for that one song. And then because that's impossible to sustain their popularity immediately died following.
Cristina: It's Raining Men was on their third album.
Jack: Yeah. So they made a one hit way later and then they made music after.
Cristina: So you're saying they weren't called the Weather Girls before they got that song to be famous?
Jack: Oh s***. I see your point. I see your point. Yeah yeah, yeah. Cuz they had. The good ideas would have come at the beginning or at least the second album. Right. Because you have the first album when you're trying to figure it out. The second album you hit your note and your third album is your decline or your masterpiece. One of the other. I guess I could have been the masterpiece. Who knows? But one song. I don't know any other song from that album. And I don't think anybody in history has ever heard any other song from that album.
Cristina: Probably not. Probably not.
Jack: Do they have a fan base? Would be the question. Anyways. Anyways. Anyways. We gotta go back to the year 1912.
Cristina: Because.
Jack: I was trying to learn what we could about wizards. As you know we've been.
Cristina: We.
Jack: We cross paths with the lady of the Lake and we cross paths with Fae La Fay. Morgan Le Fay.
Cristina: I don't know who that is.
Jack: The chick who helped our King Arthur out.
Cristina: Oh yeah.
Jack: And so we're crossing paths with those people and we cross paths with. Actually I guess the lady of the Lake doesn't matter. Merlin.
Cristina: Merlin's the only one that matters. If you're talking about wizards, like.
Jack: Yes.
Cristina: Oh, that other lady was a witch or something.
Jack: Yeah, she was some s*** like that. Some real overpowered thing or a fairy or a fair. Yeah, it's kind of unclear at this point.
Cristina: Okay.
Jack: But I was wondering what the significance. We were talking about this, right? About a couple of things that in the last like two episodes really stuck out. And one of the things that stuck out was about the, like, what is up with these people's obsession with King Arthur? Fairies and sorcerers and all these other people. There's something beyond what we're understanding. Because if it's just some s*** that one of them made, we'll make another one. Something is actually special about Arthur. Cuz they're all behind Arthur. Yeah. If it was that much of an issue, do it again. Unless it was very energy consuming, the cost for making him is very difficult.
Cristina: Mm.
Jack: Which, like, what the h*** does that mean? Don't you guys live infinitely long times? Isn't this not worth your energy?
Cristina: I don't know. Are people just made from stones though, or like, like what made him?
Jack: Arthur.
Cristina: Yeah. He wasn't used with the stone, was he?
Jack: No. I actually have no clue how this man was made, but he's eventually gonna die of old age anyway, so it didn't matter. But anyways, yeah. So I'm looking, I. I see this fact that the sorcerers overpowered then and. And I'm looking like, okay, equal to Jesus. Look at Jesus. And he was also surrounded by his team. Wasn't of these people who were sorcerers of any sort. They got their abilities seemingly from Jesus. His lessons and things. He would provide and give to his people so they could be more like him and use his abilities.
Cristina: Were they using his abilities?
Jack: Yeah. Apostles had ability to heal and stuff.
Cristina: That wasn't from adrenochrome. I think that was from.
Jack: I believe those are the teachings that they got. Yeah.
Cristina: Oh, okay. That makes sense.
Jack: But on top of all that, Jesus did have people that were assumed to have witchy abilities, like the presumed he hung out with and individuals like that. And it's like, okay, so if this is true with King Arthur, then curiously, Jesus also had this thing. But what's true in every one of these cases, with the exception of La Fay, is that he seeks them out. It looks like he seeks them out at least.
Cristina: Who is he that's seeking them out?
Jack: Jesus and Arthur. They seek the individual out, but actually there was always something pulling them in the direction of this sorcerer, in the case of Magdalene, it was not that he was being manipulated through narrative, as far as we know, but it was that he was being drawn to that area to help, to assist the way he usually does. So some bigger, greater calling still took him straight to Mary, who suspected to be a sorceress. And then you have Arthur, who goes straight to Marlon because of a narrative.
Cristina: That he was writing, because of who.
Jack: He is, he had to do this thing the same way Jesus, because who he is, he had to go assist, he had to go help. He had to provide who he is to this person. Arthur had to provide who he is, is. And this in both instances, lands them in front of an individual that has an everlasting impact on their life and seems to always be present beyond that point. That's interesting. Almost like the whole point was to cross paths. So I'm like, okay, we gotta look after coming to that conclusion. Because I'm like, okay, I know that these two guys are kind of the same. And then I start looking at these comparisons because I'm just looking at them back and forth. Sorcerers, one and the other. What does this mean? What does this mean? And I come to that conclusion like, okay, the sorcerers are what matters. This is really weird. I got to look at this. So I start looking at sorcerers in general, mythologies across the world. And as I'm looking through sorcerers, hundreds, thousands of different kinds of sorcerers, scrolling, looking for a bunch of different types of magic abilities and blah, blah, blah, blah, blah, blah, blah. One seems to show up in this culture. And then I keep moving and shows up in that one. And then I keep moving and shows up in that one.
Cristina: And the same wizard person thing.
Jack: No, not the same wizard. The same word. Which keeps showing up as I'm looking for different. I'm looking for different types of magic, allegedly, which we all know as different technologies, which is very interesting, by the way, because this might be one of the closest times I've ever been to deciphering when thing is in fact a like it's almost directly told to us based on how they describe it. But I'll get to that point in a second. The word necromancy kept showing up. And we have people magic. Yes, 100%. And we have a basic understanding of what necromancy is. Everybody has an idea. And that's the same. That very idea, what you just said. That's the idea we all have about what necromancy really is. We think it's just magic about dead people.
Cristina: Isn't it?
Jack: Well, we're gonna find out. Because that came up so frequently that I started to look towards that direction primarily. And as I started to look towards that direction primarily and started to leave behind the wizards, I stumbled upon a huge distinction between all wizards and sorcerers of all sorts. And then necromancers. Necromancers are apparently mentioned and used, addressed again, one of these words that at this point I'm just translating anything that seems to come after any pattern because it's one of these words that seemed irrelevant at the beginning, like just something that doesn't apply. And as I'm going through it and see this, the context makes sense in a bunch of texts we've been reading before. And it's essentially necromancy mentioned in a bunch of languages. Keep in mind I just go back to the sources we've had before, because that's what I'm trying to unravel further and further and further. So I end up coming across a fact that necromancy has been mentioned in front of us over and over and over and over and over. So I'm like, okay, no, f*** the rest of this information. I'm gonna look at whatever necromancy is specifically. That's where the value is. Because that's what this show's about, unraveling humanity's most absurd ideas. Anyways. So now the main purpose becomes about finding out. It left being finding out about Merlin and these individuals and became finding out about ne necromancy.
Cristina: What did you learn? Now is this about specific people?
Jack: No. Okay, so necromancy basics. This is the window into necromancy. Basic things to know. The very first individual that discovered necromancy. Not discovered. The first mention, rather ever of necromancy. Happens to be in by the Greek.
Cristina: Okay.
Jack: And it was mentioned 2,700 years ago. That is the first mention of necromancy that we have on record written. There are stories.
Cristina: Wait, when you were talking about going, we're gonna go back in time to 1970, that had nothing to do with anything.
Jack: That time was completely random and relevant. Okay, okay, yeah, yeah, yeah. That had no, no real world value of any sort.
Cristina: All right.
Jack: Yeah, yeah, yeah. That was just the time I picked out of a hat in 1980. I said 84. I think 1974. But 1984 is when that thing came out.
Cristina: Yes.
Jack: No, it came out in 83 because it was nine years off. I said 74. Yeah, whatever. Anyways, so necromancy basics first found. The first found writing that directly use the word necromancy. Is by the Greek. It was written 2, 700 years ago. The first altered version of the word, something that means it, but is not exactly. Necromancy was used shortly thereafter. And there seems to be nine, 10 different versions of this word, spelling and enunciations, none of which I'm gonna bother with because the word necromancy is all we need to know.
Cristina: Okay.
Jack: The very earliest recorded use of it is by Circe, which is a known collaborator of Zeus, which as we know, is the leader of the individuals in the Greek gods collective of individuals.
Cristina: Okay.
Jack: So. And weirdly enough, this mention is not even being brought up by the GRE getting this information specifically, which is the first mention of it being the first to mention it were the Greek. But the first time that Cersei that it was used was Circe, and that was from an Egyptian text, apparently.
Cristina: This doesn't make sense.
Jack: Yeah. So a Greek God being mentioned in an Egyptian text with an E. Egyptian man. There's a random. Or maybe he's not random, but whatever. Well, he didn't do anything miraculous there. And he. They basically just doing a. Solving a problem. And they use some necromancy to gather information by talking to a dead thing.
Cristina: Oh, okay.
Jack: And yeah, so an Egyptian.
Cristina: So they wakes like a dead person up, get some answers and then that dead person stays dead?
Jack: Yes, he's an Egyptian man. He travels to Circe, the Greek God and asks for assistance with this. And Circe then brings up the dead man and allows the Egyptian man to get the answer to his question and so on.
Cristina: Okay.
Jack: Fire.
Cristina: Yes.
Jack: Simple, simple details happening. Nothing too big.
Cristina: Is there a lot of necromancy and Egyptian culture and whatever.
Jack: It seems like the culture for it right there. It seems like the culture of death.
Cristina: Yeah. So I'm wondering if that also is part of it or no.
Jack: Apparently it was very huge in Egypt and it was very huge in Persia. Necromancy was ginormous.
Cristina: Why?
Jack: It was one. So the idea was that it evolved naturally from shamanism and all that kind of natural witchy stuff.
Cristina: But are they trying, like, what's the purpose though? Is it just to get answers? People say it's to speak to loved ones. Maybe. I don't know. I'm guessing. I don't know. What is it for? What is it used for mostly?
Jack: Well, as I keep continuing, I will explain those things. It is said that it can be used to communicate with the dead in the shadow realm, if that matters.
Cristina: That might matter, I'm not sure.
Jack: And it is said that it could bridge a small Temporary local gate to the Shadow Realm allowing passage.
Cristina: Was that random lawyer and his sister in Chennai just accidental necromancies? People like what. How are they accidentally walking? Are there accident? Like, are those gates there? Or can we just. We have to do it. Does someone have to make the gate? Because with Jesus it seems like you gotta make them.
Jack: I mean, same thing with Mount Kaf, Mount Athos. Same thing with El Castillo. They're all a stationary building or structure of some sort. Jesus has the most efficient one as far as we know, which is the Shinto Gate. But ultimately it's a fixed location.
Cristina: Yes, but I guess there could be random ones that are just naturally made. Right? Because that's how battlefields probably end up with a bunch of Shadow Realm creatures. It's those deaths creating the gates, leading the whatever, wolves or whatever coming 100%.
Jack: Although it's described as a form of magic, I believe that based on some of the descriptions that I came across, it that all. And the fact that all the other magic we've come across is technology as well, that this is definitely. This is definitely one of the most prominent descriptors of something being technology as far as we've come across so far.
Cristina: How so?
Jack: I'll explain in a moment. It does more than we might think as well, which was my initial idea into looking into this deeper. Because all of us believe that it's magic of raising the dead. But this portal part I did not know of. So refreshing what we know. Because now I'm curious. This is where at the point that I finally completely decided. I'm not even returning to the other crap. My next absolute focus is necromancy. Now, I wasn't just looking at the word. I've changed my mind about the subject I'm looking into now. Necromancy has become so complex, I need to look in deeper. Right?
Cristina: Okay.
Jack: So I do dive deeper and it opens wide. Wide. One of the most complex things I've looked at so far is necromancy. So we're gonna refresh what we know and then collapse into the rest of it. So first mentioned by some Greeks in some Greek writing. The first use of it, by the way, the Greek writing was 2,700 years ago. And there are stories that indirectly mention it that are much older. And There are about nine to 10 different words in Greek describing the same word after and before then. The first mention of it being used is by the Zeus known collaborator Circe and a. An Egyptian man who came to her for assistance. It is believed it could be used to Communicate with the Shadow Realm. And it is believed to bridge a small temporal local gate to the Shadow Realm, allowing for passage. Now, it allows the user to create an ethereal illusion, also defined as a hologram of a being in the Shadow Realm.
Cristina: Oh, like a ghost?
Jack: Like a ghost of somebody actually on that side. So you can talk to them physically. See them here. Can be used to control the will of Shadow Realm beings. This is fascinating, because this is suggesting that everything it does somehow interacts with the fabric of the Shadow Realm itself.
Cristina: It can control Shadow Realm people?
Jack: Yes, and minds of Shadow Realm creatures.
Cristina: Who made this?
Jack: I don't know.
Cristina: It seems really powerful.
Jack: Well, the person we actually have to look at is Cersei, because that's the first mention of somebody going to get help of. From. From somebody for this.
Cristina: But she working on Shadow Realm stuff. I know. Wait, does their team have Shadow Realm creature?
Jack: Greeks, yeah, they do. Forget who was their Shadow Realm thing.
Cristina: But yeah, they have a guy because that seems pretty crazy.
Jack: That's nuts, right? Ability to control the mind of Shadow Realm beings because their mind is made somehow different.
Cristina: You also can control dead people?
Jack: Well, it doesn't really say anything like that. I think they were just kind of assuming demons and creatures from the other side you could communicate, but it seems like they can just show you things from that side.
Cristina: But what about dead bodies here? Can't they do things to them?
Jack: You didn't come across any mention of anything like that?
Cristina: Oh, okay.
Jack: Yeah. It was more of like bringing stuff from that side over. So it seems like everything they're doing is actually just interacting with Shadow Realm energy.
Cristina: Okay.
Jack: Like, they don't do anything on this side at all that isn't part of connecting over there first.
Cristina: Okay.
Jack: Which becomes even more interesting in a moment. But this definitely leads us to be by far one of the most dangerous things we've ever seen. The ability to control Shadow Realm creatures will.
Cristina: That's insane.
Jack: That's nuts as h***. But apparently it always required the user to have an aid device.
Cristina: That's what they call it. What is it?
Jack: Well, it's a handheld control device of some sort or a small device worn as a necklace. Can be manually operated or voice operated.
Cristina: So it's actual tech. What?
Jack: As far as they know the descriptor words when you translate them and try to find out any possible description for what they might be. It's like the word we would say for knickknack. It's a little knickknack that he would fidget with in his hand. And a thing would happen. They would either have it in their hand or they would wear it around their neck. Like tribal wear was the most frequent comparison. And the knick knack around the neck, you would either have to again, manually do something with it or both. The one that you could just hold or the one that you wear have also been seen in such a way that you can voice activate them.
Cristina: What?
Jack: So a person has held it, not done anything, but spoken to it. And then things have happened and the same has occurred for the one on their necklace. And I'm like, these are out here at some savage a** tech, bro. Yeah, because like this just the descriptions, it breaks down to knickknacks and doodads. The descriptors that people use. The, the. The linguists and the scholars who write this down and give us the English versions that I don't trust. Say necklaces and pendants in a one to one. That is not the word. And then when you check, these people had words for necklaces and pendants. So why do they need this other word that translates to a different word from ours? It's like they don't understand what the gadget is, but they knew what the jewelry you're claiming they're saying is.
Cristina: Yeah, but they know it's not that they're not gonna say, it's that they're just like. It's this thing.
Jack: Yeah, exactly what it is.
Cristina: But it's a thing that they have.
Jack: Exactly. Little gadget, a little thingy. A thingy. They had thingy. And like that's the reality of what they was written down and what was said. There was a thingy. Should have the thing.
Cristina: Who made the thingy? The thingy come from fairies from sea people from Shadow Realm itself?
Jack: Don't know. I do not know. I do not know. That s***'s crazy. Now, personal portals aren't used between earthrealm and Shadow Realm because they are two linked realms and are sort of reflections of one another. Which creates an interesting problem where if a person is moving around on Earth Realm, the opposing side of the portal is also just moving around in the Shadow Realm. To solve this, there are stationary locations, strategically selected, where you can control where the other site is based on where the exit already is. In the Shadow Realm. Build one on one this side, build one on that side. Maybe it's safer for me to walk to Mount Koth on this side than it is for you to travel over there in the Shadow Realm and get murdered by that thing.
Cristina: Explain that again. What's happening?
Jack: Portals Cannot be. They're not usually used for individuals.
Cristina: Okay.
Jack: Yes. So portals aren't used between earthrealm and Shadow realms as an individual portal. Like personal portals, because there are two realms are linked and they're very similar and reflections of one another to some degree, which has odd effects. If a person is moving around a personal portal, you have a portable little device or something that could open a portal. You walking around means the other end of the portal is moving around in the shadow realm. So it's inefficient to know where the h*** you're gonna be.
Cristina: Okay.
Jack: Because it's random how it works.
Cristina: So then how do you do it exactly?
Jack: To bypass this. The things built were stationary. El Castillo, Mount Ka, Mount Athos. Locations where you can cypress, where you can control. Because it's always there. It's always the same spot that didn't go anywhere. So the exit is always the same spot. You know where it's going. And again, maybe it's more beneficial for my civilization on this side. I have 15 miles of nothing but safety between here and Mount Ka, but you on your side have 10 miles of a h*** in the same direction. So it doesn't make sense for me to make the portal close to me and then you got to travel those 10 miles and die and never be able to get to me. When I could just make the thing in Mount Kaf and it shows up a little farther, but that's right in front of you in the Shadow realm and you could just jump in front so you could build it strategically because you always know where it is. That's the reason you don't have personal portals. You'd have to beat the the system of the personal portal. The problem of the personal portal, because you can't control the exit if you move, the exit moves because it's relative to where you open it.
Cristina: Okay.
Jack: Always an issue. Big problem. This is getting into granular details between the realms. So it's kind of heavy, almost sciency details about, you know, weird sci fi ideas. Now again, the bypasses giant civilizations made big things. El Castillo, stationary location. Mount Kopf, stationary location. Mount Athos, stationary location. Cyprus, stationary location. So how the h*** do does necromancy tech allow a person to move around with a personal portal and them actively know what's going to be on the other side if it violates a rule of physics, as far as we understand, between both realms? Well, I'll explain because I found that.
Cristina: Okay.
Jack: What I just needed to explain how crazy complicated that issue really is.
Cristina: Yeah, but they Figured out, yes.
Jack: This is how advanced this is. These guys are breaking and you have.
Cristina: No hints of how it happened. Who started this?
Jack: I have no idea who started this. This is one of the big ones. I'm starting to piece this apart. I just found so much crap. It was just endless. So in the future we might figure it out. Yeah, yeah. This might be one of the biggest pieces we've been missing that we didn't even know to ask for. Because also in all the writings from everybody, everybody had a story of somebody going to a necromancer for assistance. That was always a desperate last, worst case scenario to go to a necromancer. But it was like, oh, everything else failed. We still can do this. Which means like, holy how op is that? That no matter what. Oh, we got the backup plan.
Cristina: It's a black backup plan. Dangerous.
Jack: Somehow though, something is dangerous about it and I don't understand what it is. Perhaps it's the interacting with the shadow realm aspect of it. I don't know.
Cristina: Maybe because maybe you could attract something you don't wanna.
Jack: I think the. Yeah, I think a lot of the ideology framing around it is that you got to understand that the people who were describing a lot of these things were primitive and were not really comprehending. So perhaps this is literally what they thought was the case. The shadow realm is not of intelligent beings, but monsters and demons. And if I fiddle with that, then monsters and demons will follow me home. Because again, they are thinking of the shadow realm as nothing but primitive, ignorant. But it's more or less the same.
Cristina: But they don't know that. Like the whole Halloween thing that we talked about before, kind of similar. That people were afraid of them coming out.
Jack: Yes.
Cristina: They just wanted their relatives.
Jack: Yes. But they're actually right. There were some crazy. There are crazier things out there, but it's no crazier than creatures we have. And the same way you'd have to sort of mess up an attractor because you can go camping, it'll be fine. You are not attractive to a bear. But if you start leaving food around and you're reckless that you're told not to. Now you start attracting a bear. The same thing applies to everything. You can do the wrong thing and attract the wrong thing. And this applies to every creature.
Cristina: But people are afraid of wild animals equally. Of like going in the woods and running into a bear. That's equally scary probably than summoning some creature that's gonna.
Jack: Yeah, but it doesn't lead you to believe that all creatures on Earth Are just wild animals, which is essentially what a lot of people believe about the shadow realm. It's just a place of evil and darkness and nothing more. But no, there's people there. Just people. It's just a different thing that happened and developed somehow. Yeah. Before us. We're essentially a product of that, if anything. But I found solutions to this problem. They explain how it works. There are entire breakdowns dating far, far back Explaining how this thing works. So these are some of the explanations that actually elaborate on the technology, the literal technological aspects. And it should make so much sense.
Cristina: Okay, so.
Jack: So this is how this essentially happens. A bridge for communication or passages open through a higher realm referred to as the astral realm. Now, astral realm, I'm like, what the is this?
Cristina: Yes.
Jack: No. I then bounce that in and start pulling, like, other words, other words. Somebody's gonna say something I've seen before.
Cristina: What did you find?
Jack: Well, the celtics equivalent of astral realm comes out to a world of magic, which you then take magic and find all the other Celtic words that match it. And fae and elfame and fairy are the other words associated with that same thing.
Cristina: That's very complicated.
Jack: So then you look for the other mentions that directly just translate astral realm to just astral realm, but in that language without it being a different word entirely. And you look at the words surrounding them, and they are also talking about a world of magic.
Cristina: Who's working with fairy magic? Who figured it out?
Jack: I don't know. I don't know. Somebody figured it out. And it's secretive, as. It's more secretive than the entire complicated series of secrets that we've cracked to the point that now we're coming across.
Cristina: Magic to control shadow realm. Like, this isn't.
Jack: This is. Yeah, this is higher level.
Cristina: So it basically, this is what people are afraid of. The sea people. We're figuring out that this is gonna end up being somehow related to the sea people. Yeah, we know they're powerful and the fairies are afraid of them. And the shadow realm are afraid. It like, come on.
Jack: Yeah, this is next level, right?
Cristina: Using fairy magic to control shadow realm creatures. How insane.
Jack: It's heavy. It's heavy. This is next level, man. This is next level. If that's the case, then the level at which we're grading the Elysians based on the Kardashev scale is wrong. Because you got to understand that we would need to pass quite a couple of stages before we get to the shadow realm. If we're talking scale wise, planet is first. That's One star is two. Oh, no. All the star. Right. All of the planet is one. No, all planet is. Yeah, I think all planet. All the energy of the planet. All the energy of the first star. That's number two. All the energy of the entire of a galaxy is number three. All the energy of a universe is number four. In between number four and number five, you should be able to create, manipulate, alter, and destroy universes. Which means you should be capable to be equal to things within that universe. In this case, as strong as something in the shadow realm that can make something like we are. That means that the Elysians aren't number two.
Cristina: No.
Jack: Elysians have somehow.
Cristina: They might be number one. They might be over fairies.
Jack: No, no, no. Not. Not ranked wise. I mean, on the Kardashev scale, instead of. They're four.
Cristina: Four. Okay. What's number five?
Jack: Number five would have to be the multiverse. You'd be able to control multiverses.
Cristina: Okay. We don't know that they're not there, though.
Jack: We don't know. The scale continues to grow and they're the most likely culprit for what's going on here.
Cristina: Okay, this is insane. Because, like, then what? What? And then they're afraid of Jesus.
Jack: We don't know that.
Cristina: Insane.
Jack: We don't know that.
Cristina: And they don't.
Jack: Like, they're trying to keep Jesus from them. And Jesus has ability with just knowing stuff. Jesus has some Santa Claus properties.
Cristina: Mm.
Jack: You know, he just knows stuff. So it's problematic. They need to be able to keep things away from a guy who just knows stuff. Something about what they're doing.
Cristina: They don't want everyone else to know the stuff that they know. Like, why would they want everyone to have this necromancy abilities, especially the shadow people. Like, I don't know. This is pretty big.
Jack: Yeah, this is pretty huge. It's pretty nuts.
Cristina: He just knows it. He could just share his secret even if he didn't know it. Know it. Like just looking at a book randomly and just sharing that knowledge with everyone by accident. Like that's what he does. And they're afraid of that.
Jack: Okay, so let's go over this again. The bridge for communication or passage is opened through the astral realm, AKA Elfhame, and to the shadow realm. It's through Elfame and to the Shadow Realm.
Cristina: Ridiculous.
Jack: This is a bypass for the problem they have of a moving exit point of a moving point B because you're moving at point A Song. So how it works by bridging through the higher realm the entry and exit points meeting in this higher realm. Elfame can be fixed or tied together so that they seamlessly go from one to another like a tube.
Cristina: I think fairy trees have to do with this.
Jack: 100%.
Cristina: Okay.
Jack: They totally have to bring that.
Cristina: Because we know those might be dead fairies. Maybe. We don't really know. The guess is dead fairies.
Jack: Yes. This is. Yeah. I feel.
Cristina: I feel they're connected to murdered fairies. They have the fairies to make these special. Whatever you want to call them. Plants. Which not might be plants at all, but some other tech that links the three already. These might have to do with the bridge.
Jack: Yeah. And no. We know that they've been working on portals for the longest too. Yes, we know they've been working on portals. And we didn't know. We thought was just for them to get from one to another. Tricks, bro. There's tricks out there. And they were trying to figure out some tricks or did figure out some tricks. And we're piecing together. It reminds me of this game. It's a lot like what's happening with this. All the research we're doing. It's called. It's a game like a PlayStation game. And there's really tiny planets and there's a time loop happening. And you're trying to figure it out. And as you go through the time loop, you understand the time loop more. And. And you just try to find out the history of this time loop and the world surrounding it.
Cristina: Okay.
Jack: Outer world or outer wilds or something like that. Wow. And how we continue to find information feels like that. Because it's out of sync. A lot of time. It's out of order. But again, based on the chronology of these events, the first couple of events having it are way beyond the first couple of stones being made, but before Jesus in a nice warm spot. This also serves to make sense as to why things like Joseph the golem and things like Arthur were easier to make. Because it was way better abilities happening way before that we didn't come across and are probably way more secretive.
Cristina: Mm.
Jack: But bridge cut through the top part of a realm. Not top of part of a room, but a higher realm. By bridging through the higher realm, the entry and exit can be linked to each other. So either be in really close proximity or tied together. Because you can fix them in this higher realm. You cut through here with one half of the tube and you fix the exit that enters from Earth to the. To Elfhame. You fix the Elfame exit because it's not connected to your Movements.
Cristina: No, it's connected to those trees.
Jack: Yeah. It's somehow stationary. And then you grab the end that comes out of Elfame into the Shadow Realm and you fix that stationary. Now you can make these two completely stationary and they won't move. Tie them to each other. Now, the point that you have in the Shadow Realm isn't moving when you move in Earth Realm. Thus completely shattering the original problem of not being able to move the portal because the destination would move with it. Boom. Necromancy technology. Solving problems at higher thinking.
Cristina: It was very magic.
Jack: Very magic. That's elevated thinking and that's fire. Which that's crazy because it does allow for the simultaneous use of both insane.
Cristina: Are we sure these aren't fairies themselves? Somehow I don't understand. How is it happening? How are they using fairy tech like this?
Jack: I don't know what to tell you, man. Additionally, there have been teachers of this information, but the circumstances. And there have been. There's a few teachers, five total in the last 5,000 years that starting roughly about 3,100 BC to about now.
Cristina: Are they fairies?
Jack: Don't know. It's unknown who they are. They just barely get mentioned. Always relative to necromancy and being teachers of necromancy. Because I'm just doing a massive search for anything relative.
Cristina: So is there no description of these things?
Jack: There's no. No, there's not. Nothing. Nothing about them. Just a couple of the roughest of details. So the teachers of Necromancy exist throughout the centuries. Obviously there are five spread out. It's unclear where in time there are. They're placed.
Cristina: Really?
Jack: Yeah. Exactly where in time they're placed. I just know where the latest is. And the earliest was about a thousand years ago. But it's like.
Cristina: And locations. Then you don't know where?
Jack: No. I can tell you the cultures that mention them, but it's unclear where these people venture out of where they live far off to go learn it.
Cristina: Okay.
Jack: They always go to some. The only one we know for sure is the one in Greece, which is Cersei. Outside of that, everybody else ventures off to some other mystic place super far away to go learn the thing.
Cristina: Okay. Okay.
Jack: So it's always vague. It's always anonymous. It's always in West Bubba. Everybody has the same thing. They go on a quest that eventually leads them to be blinded or to lose consciousness or something. So they don't know where they are and they wake up in a place that they cannot leave. And then they either get the information or get the.
Cristina: It's so Crazy because Jesus was definitely had this power.
Jack: Yeah. And this feels like an abduction, which we've discussed before as well. Being very like just elation abducting people. Because like you're just traveling and you go blind or you pass out and then you wake up in a place you can't escape, where you learn this knowledge and then you come back from that with it. Like what the f*** is that?
Cristina: I don't know.
Jack: Sounds crazy. And you learn it from some anonymous higher intellect. So how much higher are they?
Cristina: Enough to think they're aliens?
Jack: Enough to be beyond the scope if they're. Again, if they're controlling shadow creatures, how the. The leap, the technologic leap between where we are and where that would be. And not just where we are and where that would be, but where the Elysians would be or where we thought they were and where they would have to be is still so colossal. We're not talking two, three stars. We're not talking the great void. We're talking. That's ancient old garbage to them, this tech. The Great Void. Oh, the great Void. Completely vacant black spot in space of millions of entire galaxies. Fully dark because all their stars are trapped inside of Dyson spheres. That is just ancient technology by comparison to what it seems like the Elysians are capable of doing. And it's absolutely possible they're out here in the shadows teaching people how to do these things.
Cristina: Why?
Jack: Yeah, why? But of these very few details, they all mentioned the same almost requirements that the people had to have in order to go in to these practices to begin with. Otherwise they would be okay. They wouldn't even be considered. And people were rarely considered at all. There was a whole process. Eliminate. If you think Yu Yu haka show you think the bunch of people who had to fight just to get Guinan's interest. And only two of them would train with her and. Or one of them maybe. I think Yusuke was the only one who's gonna train with her. And then she made an exception for Kubara or whatever the f*** the case may be. But essentially that, oh it's a legendary somebody who does whatever. The legendary, blah blah blah.
Cristina: But involved blood.
Jack: I don't know. Very unclear. That's the point. We're back to crazy amounts of secrecy.
Cristina: Oh.
Jack: That we barely know anything about. And I'm sure beyond this point information is going to start breaking down. If we start entering level four on Kardashian scale tech. I guess it's gonna fall apart quickly. But they all had the same requirements, which is a series of knowledge and disciplines required to then become just considered. And you're probably going to be rejected. To then be mentored by whoever the f*** these random nobodies are to get the abilities, or at least the opportunity to. Here's the offer. Try your best. You know. So. So they must know Latin. Anybody who did not know Latin had to start studying Latin. Didn't know how to read. Not happening for you.
Cristina: Okay.
Jack: We're talking long ago. Learn Latin. You have to learn Latin. If you do not know Latin, you must study Latin, because one, the teachers will only communicate to you in Latin, and two, although people have translated their works, in the more modern cases I've come across, they will not allow you to use that. Okay. They must be familiar with the technical specs and inner workings of Elysian technology.
Cristina: Are you positive? Does not make sense.
Jack: That ain't even it. Because they must also be familiar with Shadow Realm technology.
Cristina: What is happening? There's more.
Jack: They must also be familiar with Elfame technology.
Cristina: How? How's that even possible? How can a person just know about those three things? And these are human beings that are chosen because this makes no sense.
Jack: I don't know of anybody who's been chosen. I know of people who go to the trials.
Cristina: Okay?
Jack: I don't know if anybody.
Cristina: There's no way anyone passes this.
Jack: I don't know of anybody who becomes one of these things other than Cersei. Everybody else is extremely anonymous.
Cristina: Yeah.
Jack: So it's really complicated to come across anything.
Cristina: Okay. Okay.
Jack: Yeah. It's absolutely absurd. And the last one is, you must be familiar with the Philosophy of Usage. This phrase threw me so off that I have no idea what to do with it. I looked this up a million different ways and in a million different places. The Philosophy of Usage. Weirdly enough, I found it over and over, but a lot of the times I found the Philosophy of Usage I found by itself, like, as a. Like you finished a paragraph, there's just empty space, and then it just says, the Philosophy of Usage.
Cristina: Understand?
Jack: I don't either. There's no context to help me find what the f*** that means. Obviously, we're talking the translated text, but when you find out. Okay, translate this to that language, mass search the entire document. Where does this show up? Random bottom of a page. Nothing else with it. Okay. Read everything else on the page. Translate all that. Okay. Unrelated to the random one line. The Philosophy of Usage.
Cristina: What does that mean?
Jack: You must be familiar with the Philosophy of Usage, be able to communicate in Latin and be familiar with earthrealm. Shadow Realm and Elfame Tech in order to simply be considered. And then you might still be rejected. And also, I don't know where the h*** these people go. It's very clear that it's somewhere way the f*** out there somewhere. And they know of somewhere. They don't know where. And they know that I gotta find it. That's the quest. I gotta go find it. And they do. But it's also very vague. And they're always there suddenly.
Cristina: Does it have to do with the passage of usage? I want to know what that is.
Jack: The philosophy of usage.
Cristina: Yes.
Jack: I don't know. I don't know what the that means. I don't know. I don't know what the h*** any of this is. This is crazy. Somebody just broke. Breaks a hole or knows how to bridge through energy in Elfheim. That's crazy for several people. Or it might be the same guy.
Cristina: I don't know. Is he related to fairies?
Jack: And exists through quite a large period of time in some of the most recent of these things that we have seen. With exception for things like a new.
Cristina: Crazy idea about the. What are those sea people called again? What are we called?
Jack: The Elysians.
Cristina: The Elysians. They are somehow fairies. Maybe we know the Shadow Realm God made them, but maybe he made them based on fairies.
Jack: I don't think he manually went out of his way and made them specifically based on how the story goes. It looks a lot like the existence of man as the older ape. Or not man. I guess not man, because this weren't man. But the Elysians in their primitive state, that was just natural development. Okay, like, he showed up. No, he did meddle with them. Fair enough. He didn't meddle with the apes, then leave, then show up after they'd advanced enough and then spoken with them. But he didn't make them. He just meddled with existing creatures.
Cristina: Well, you don't know how he meddled with them. Like, did he give them fairy blood? We don't know.
Jack: Yeah, it just says that he altered their DNA.
Cristina: Yeah, I'm wondering if maybe with some fairy DNA. I don't know how, but he knows a lot about fairies that we don't know. He knows a lot about. A lot that I don't understand.
Jack: Who this necromancer?
Cristina: Whoever this person is the leader of the Shadow Realm. The ones that made the.
Jack: Oh, you mean the elders. The, like, ancient ones, like Al and Susan.
Cristina: Yes, whoever made them. Whoever made all of us.
Jack: Oh, you mean the sh. Yeah, the Shadow Realmers who made the Earth Realm?
Cristina: Yes.
Jack: Like Galdabaoth?
Cristina: Yes. Insane.
Jack: Yeah. That's some upscale power stuff. That. Because they're above the levels of the Shadow Realm, they're the top tier of that. And whoever these people messing with necromancy are. Are scary to those people.
Cristina: To what people?
Jack: To the top tier in the Shadow Realm based on this. Because they can just skip the Shadow Realm. You can abuse the Shadow Realm, be mobile and vanish at will. That's op.
Cristina: That is. How did they do it?
Jack: I don't know. I don't know. It's crazy. The fact that this. It was possible to piece together through enough different sources how this functions was really dumb. Nope.
Cristina: But what's that last thing? It doesn't make sense. You got no info on it? Not even tiny hint to what you can find?
Jack: I couldn't find anything on the philosophy of usage. I could find everything on the philosophy of usage of it's everywhere. I can't find anything on the philosophy of usage. As in it's never defined. It's always alone.
Cristina: Not even hinted at what it could possibly mean.
Jack: No. The only two contexts you see it in are when it's mentioned by itself, absolutely out of context, and when it's mentioned as a requirement for somebody about to take this trek. That's it. And they also don't clarify. So you know they don't know. You know they don't know. And a lot of people never get too far on the quest.
Cristina: Mm.
Jack: And the people who get really far on the quest usually don't make it. Anyone who make it really far on the quest and make it don't realize they make it. They're just there suddenly. Sort of like they still don't know where it is. Like they might have been close, but it could have been on the other side of Earthfall. You know, if you're getting f****** abducted.
Cristina: I guess I don't get it. Because it's the top three things than Latin for some reason, which feels like, okay, human.
Jack: No. All the most important.
Cristina: Then the philosophy. I don't know. It's haunting me. What could that mean? Is that like combining all four or something? You have to understand that you first have to know each thing and then how to combine each thing with each other. I don't know.
Jack: No, because there's a guy we know in the Shadow Gods team who knows how to merge Shadow tech. And by the way, we were talking about that guy becoming more important because we thought it was stupid that he was just picked up because he could merge the two techs or I did. And then you were like, it's about merging. And like. Yeah, exactly.
Cristina: This seems like. Yes.
Jack: Yeah, yeah, it's totally going. But you remember, right?
Cristina: He gets it.
Jack: That like tech merger.
Cristina: Yeah. He's in the Shadow Room though.
Jack: He's the Shadow Gods. Yeah, he's one of those dudes. So. I don't know. This is. It's been really twisting my head.
Cristina: That's very complicated. Where do you go from there? Can't even find what it is.
Jack: I don't know. I don't know. I gotta find what the h*** the philosophy of usage is. I gotta find out who the h*** these necromancers are that are teaching people or showing them or what? I don't know. I don't know.
Cristina: So uncle, where are they from? What are they?
Jack: Where are. Yeah, where are they? What are they? Ah, it'd be crazy if we came across a different group.
Cristina: Group. Oh my gosh.
Jack: Or rogue elves.
Cristina: No, that doesn't make sense. Or maybe rogue elves. Maybe more likely badass.
Jack: I hope it's rogue elves. You know how cool that is? There's.
Cristina: There has to be the snakes.
Jack: Yeah, there's rogue Naga. Oh, you think these are Naga helping people?
Cristina: Yeah, we have the rogue elves. They're Nagas.
Jack: Some of them are. You think there's some rogue fairies?
Cristina: Yes, fairies, elves. It's the same thing.
Jack: Elves aren't Naga.
Cristina: But they're fairies.
Jack: They're fairies. Yeah.
Cristina: Okay.
Jack: They're like human looking.
Cristina: They're human looking. Oh, aren't the Nagas?
Jack: No, the Nagas are serpents.
Cristina: Sometimes serpents, sometimes humans.
Jack: Elves are made by Elfhame to push people's abilities down.
Cristina: Okay.
Jack: I guess supervise her abilities.
Cristina: You think some of them are rogue?
Jack: I don't know what the h*** is going on. I have no idea what the f***. This s*** sounds so ridiculous. Every time we find some new scalar for power, it's more ridiculous than the last. And we've gone from simple people who are slightly more powerful and technologically advanced than the people surrounding them to. These people are potentially so strong that universal powers couldn't put a stop to them. Talk about Goku on some s***. That's the real world Goku.
Cristina: Yeah.
Jack: Anyways, that is what I came up with when I dove in the direction of necromancy.
Cristina: Ridiculous.
Jack: Apparently it split open the whole schnozzle.
Cristina: There has to be something else. We have. There's more. There's definitely more.
Jack: There's always more.
Cristina: Yeah.
Jack: There's literally no end to this. It just gets deeper. And bigger and wider and huger and.
Cristina: Fatter and juicier and never makes any more sense.
Jack: Yeah, it makes. I mean that's what that's gonna happen. It's gonna get way more abstract the higher up we go. But unlike finding out about things from really really really really really really really really really long ago go, it seems way easier to track down multiple sources for things more recently because there's way more records on it. And even if they're super secretive, it's hard to erase absolute mention as more people know how to write as more people leave some evidence of a narrative.
Cristina: And do you think you'll find something Morisa?
Jack: Yeah, a bunch of this stuff. Although it started pretty late, necromancy was active as like with record until pretty recently. It's still used pretty frequently now. It was way active, not just way in the past. It was actually more scarce back then. It seems to have had a big moment in the middle ages and it seems to then again have had a pretty big moment in the 16 and early 1700s which that coincides perfectly when you think about that the early 1700s 1700s leads to the birth of Draco who is the guy who had the alicorn handed to him by the so like there's a lot of you know, the closer to now we get the more sources we find more people who will just again random just captain happen to jot down about the freaking Antonio Draco.
Cristina: Yeah but like weirdo on his boat.
Jack: Okay, yeah. As more people can just do that it becomes harder and harder to erase your existence. When you show up capture casually it's further back that it breaks down. I was trying to find out origin stories from El's time.
Cristina: Impossible.
Jack: Yeah, it becomes really difficult but instantaneously I can tell you that there were a couple within just last a thousand five hundred years.
Cristina: Okay, so you can talk more about that next time.
Jack: All right, we're sure. Anyways, if you guys want to leave us some info, some translations, some opinions, some ideas, some interpretations I suppose was more what I was aiming for for the information we have provided. You guys can do that on our socials. You can hit us up at just convopod on X, on Instagram, on Facebook.
Cristina: On TikTok and remember to subscribe and rate and review the show.
Jack: Yes. And this show is great to share by word of mouth. Be sure to go scream it at people and tell them hey, go listen to the rambling podcast and you will find out about the great secrets of the universe.
Cristina: This has been the Rambling Podcast. Take nothing personal and thanks for listening. Bye.
Jack: California was down. They're like, whatever, dude. You can brainwash those people into anything. Just should have kept the tech in California. But no, you have to backtrack California because that got sloppy too. You pass the digital law. Cause that even the Californians were like.
Cristina: Bro, what's going on?
Jack: What the. Yeah, like, what the is going on? You just cool with kids being taken and then mutilated somewhere? What you need to an excuse to cause them to bleed? Well, we can. Oh, yeah, we can do these surgeries. Mastectomies, double mastectomies on children. Yeah, that makes sense. Totally. We can chop boy's p**** off. It makes total sense.
Cristina: That's for adrenochrome, too.
Jack: All of that gets you a hold of blood. You get to cut people open. You get to create incisions that blood is going to come out of. You have to keep them alive. Oh, you know, you need several surgeries. Thousands of children need several surgeries. Who knows the process that was taking place on the island? I am sure they weren't just killing the kids. That's not efficient. You feed them, you keep them horrified, you keep them alive, and you drain them consistently. A supply was the supply island. We need to somehow figure that system out again. They were like, oh, we're f****** gonna create a medical issue, or we take the children. What did they say? You could. Your. Your child protective services could take your children and they could put your child through the transitioning process.
Cristina: Good morning. Good morning. The podcast is hosted by Christina Collazo and Jack Thomas, produced by Lynn Taylor and published by Great Thoughts.info art by Zero Lupo and logo by Seth McCallister with social media managed by Amber Black.