You are very welcome!

False prophet

Yeah movie still holds up.

Thank you!

Actually that's in the article I'm working on right now, lol. I had a whole other section on Giger and the occult as part of this but it was going to be double the length if I kept it all together, so I cut it in half. Giger and the Occult is literally the follow-up piece I'm working on atm.

(Imagine how many comment-replies to the initial post that would have required..... hence I cut it haha)

Brilliant !

Thank you so much! Yeah, I was shocked when I saw it. And to think the youtube video those clips are on only got uploaded to the internet by total happenstance: the uploader had this in the description of the video:

"Found a VHS of this at a Japanese video store in Downtown LA that was going out of business. We bought the tape and went back to the video studio we worked at and transferred it to 3/4" for posterity, as we knew we could never afford the laserdisc ^_^ "

...... I can't imagine what else never got uploaded.

Yes, the A5 KB about Giger is here .

Since he did die from "taking a fall down the stairs," it could indeed be something like that. He clearly knew a lot, given the winks and nods to pizza etc. I think he may have been both victim and perpetrator.

steemit - https://archive.is/Jtx0F and https://archive.is/OuQkj

imdb - https://archive.is/9YMQ2

qz - https://archive.is/ublJg

We aren't overpopulated at all. The elites hate us and don't need us anymore. Just enough to work the machines. But the earth could handle a lot more people if managed correctly. We are herded like cattle into cities with tons of empty space.in between.

The use of the barrel of a gun as a phallic metaphor for the delivery of children (and children as bullets, bombs, etc) is a motif seen in many of Giger's other works, which we will discuss later in this article. However, I don't feel overpopulation fully explains Giger's imagery. The artist is also quoted referencing his own nightmares and worst fears as the source of his work:

"As a child, Giger was beset with night terrors, a sleep disorder that causes episodes of intense fear, screaming, and flailing during rest. To combat this, he began drawing his nightmares in self-directed art therapy. Much of what viewers see in Giger’s work is something that once caused him fear, but instead became an inspiration.Dan O’Bannon, the co-writer of Alien, once asked Giger why he was afraid of his visions since they were just a part of his mind. Giger responded, “That is what I am afraid of.”"

The Guardian's obituary for Giger likewise cited night terrors and art therapy as the genesis of his artistic expression:

"Giger's "biomechanical" style was born out of his experience of night terrors and the art therapy in which he partook to combat this sleeping disorder."

What caused Giger's early "night terrors"? Was he ritually abused, sexually abused, or otherwise traumatized? How did this material end up within the psyche of a young boy who had not personally encountered war, disease, or natural catastrophe? A serious reason to raise these questions includes Giger's purported anxiety towards sex and women, which is also cited as a reason for the darkness in his work.

If Giger was himself abused, might it explain the disembodied genitalia and other body parts throughout his work? Perhaps Giger's gut-level horror of overpopulation isn't simply a cover provided to shield a darker meaning, but is in fact his way of verbally articulating a morbid fear of reproduction, sex, male and female genitalia, primarily inspired by abuse.

Additionally, Giger's constant portrayal of infants and fetuses as bullets or bombs, and penises as guns, inherently ties sex and reproduction to violence. Read one way, we can dismiss this reappearing motif as representative of warfare, planetary destruction, and related ills resulting from an overpopulated humanity on a global rampage. However, this same symbology can equally be read as resulting from deep trauma, which thereafter intertwines all aspects of reproduction with violence and horror.

As an aside: Does Giger include Zippers in so much of his work because he saw one up close before being abused at an extremely early age? ( Zippers preceded the pasta clip in the above-mentioned video)

Birth

In addition to Giger's depiction of monsters that closely resemble fetuses, we witness a very clear depiction of birth, diseased or rotting infants, and occult references.

Victory III

Most readers will need little reminder of the centrality of birth within ritual abuse content, from the infamous words spoken in Comet Ping Pong, ( "I had to put that shit down. Euthanasia." ) to the childhood drawings of RA Anon, to allegations made by survivors in historical ritual abuse rings.

Rape, torture, and murder during the birth process were documented among other horrendous abuses in the testimony of alleged victims in the Dutroux affair.

The same site provides the only parts of the X-Witness testimony that has been translated into the English language, and its documentation is invaluable. There is a much larger book , written in Dutch and translated into French, which details the entire case including the X-Witness testimony, but the work has unfortunately never been translated into English.

Returning to Giger, his horrific representation of birth is exemplified in the following "Stillbirth Machine" series, in which the infants appear to die upon delivery via bizarre machine function or the murderous attention of an attendant.

The following images comprise Giger's "Stillbirth Machine" series:

Image 1

Image 2

Image 3

In this first version of "Stillbirth Machine," we see a woman positioned upside-down with arms and legs splayed, evoking the shape of an inverted pentagram. She appears to be giving birth through a large metal phallically shaped tube, which doubles as a mechanical birth canal. It appears that the infant is about to be stabbed in the neck by two pincer-like instruments upon exiting the pipe. The mother appears to be almost smiling, possibly unconscious of the fact that she is birthing. She is restrained at the hands and feet, and her eyes are covered by a metal plate.

The second "Stillbirth Machine" image shows another scenario in which a woman - this time wearing what looks like Egyptian Pharaonic headgear - is giving birth via a large phallic/vaginal metal birth canal, which unlike the first image also evokes the barrel of a gun. As in the first image, the infant's head is emerging from the top of this barrel, however the child is awake and conscious, terrified by a metallic tendril - the tongue of a multi-armed, decaying attendant -which is on the verge of stabbing their eye, presumably to go through the brain and kill him (or her). It seems this has happened many times previously, as there is a pile of rotting corpses of infants in the layer below this birthing scene. The two layers are breached by a disembodied phallus, into which a rat appears to be either crawling upwards or is being expelled tail-first.

Perhaps this deathly attendant - and the skeletal figure embracing the mother as she gives birth - is intended to communicate the presence of death at the moment of birth in the sense that the birth of every human being ensures that they will at some point die. However, the additional images in this series suggest that this is not the only meaning conveyed.

The third "stillbirth machine" image removes the face and upper body of the mother from sight, presenting her genitalia to the viewer, from which an umbilical cord runs upwards to a capsule- instead of a tube - which holds the baby's body. Again, the infant's head is the only part to emerge from this pod, a mechanical placenta connected to the body of his (or her) mother. The child is no longer unconscious (as in the first image) and no longer terrorized on the verge of death, (as in the second image) but is being actively killed via what looks like gas or steam being sprayed from both sides of his head.

Rob Ager analyzed Giger's work , noting the core association in Giger's art between birth and death, to the point that birth is death. Ager's analysis is worth listening to in full, though it includes NSFW images and may be triggering.

Ager discusses the intentionally vaginal appearance of the eggs Giger designed for Alien, the artist's negative attitude towards religiosity, and his focus on themes of reproductive, death, and disease, calling it a "birth-death fusion." He also speaks of Giger's use of guns to represent penises, which may inform us further on the previously discussed "Stillbirth Machines" series.

"Victory IV"

See also: Victory I, Victory II, Victory VI, [Victory VII Punk,](Victory VII Punk) [Victory V Satan,](http://archive.is/zBJiS0 Victory VIII, etc.

When it comes to ritual abuse, the headline of Ager's analysis is also literally correct. Ritual abuse intentionally combines birth with death (and cannibalism) , sex with death(snuff films), etc. This may not only result from a sadomasochistic impulse or profit from illegal pornography, but also falls into line with the oft-described penchant for reversals described in ritual abuse groups. Very young survivors often describe reversals like "good is bad, bad is good." Another deep core reversal would then be, "birth is death." This kind of reversal is part of the common overall focus on duality among some occult groups (including those who are not ritually abusive), and many religions.

In addition to Alien and its descendant films, Giger's work directly informs the more recent film Prometheus, (itself a reference to Luciferian concepts which were previously discussed regarding the creation of Lucis Trust and the United Nations. )

White hat “industry exposure” is more common than you think.

1. Author of Danganronpa used chapter 3 of Danganronpa Ultra Despair Girls to expose Pedowood 2 years before Pizzagate broke out. Note that this chapter is deadly serious about this topic in what’s normally a black comedy franchise.

2. Persona 5 is big time white hat central for those who discover its deeper truths. Game uses lots of allegories though.

3. Final chapter of Higurashi No Naku Koro Ni is about bastardized spiritual teachings and stopping a false flag aimed at killing 2000 people.

4. Higurashi’s sequel, Umineko No Naku Koro Ni. The 3rd arc is a giant instruction book on how to deconstruct the cabal’s lies/narratives to obtain the truth (the topics of “flip the chess board” and gremlin in the tv”). Later novels talk about stolen national gold used to fund the finances of elites into the occult. Umineko’s main villain is an allegory for the black pill.

The Pizzagate imagery is relevant and important, no one else made that connection that I know of, and it corroborates our understanding of the code-words in the Podesta emails and at Comet Ping Pong. That alone is important.