The last post I put up on Ar-Kan Rune-Lag blog mentioned a BBC play put out on December 29th 1981; this was called Artemis 81 and although I did not recall anything about the film I still have a vivid recollection of a dream I had after watching it. The dream, as mentioned in the blog was of a Five-Pointed Star (Pentagram) which was symbolic of 'Man A-sexual', and a Red Sig-Rune over the star, symbolic of 'Socialism' (a national and magical form I supposed). After finishing the blog I watched the film on YouTube which lasts nearly three hours. This whole thing is yet another synchronicity since this has only come to light a few days ago, in fact it would have been around 29th December but I cannot be sure of the exact day. This was 39 years ago on that date in 2020.
To make clearer what I am going to talk about, there was a pentagram in the film, and one of the main characters was typing a script (he was an occult writer) and wrote 'a sexual', then crossed out the 'sexual' and replaced with 'disorder'. Presumably 'sexual disorder' was what he was to write and altered this by taking out the word 'sexual'. This is a very small point but it shows how necessary it is to think clearly when watching such a film, although this would not have been obvious to me at the time. There was also a part where Gideon was looking at a written letter and underlined the words 'silence'.
Asexual - this means 'not sexual' in the sense that we can see the result of the HE/SHE union of the male soul-female soul; a union that joins and then separates. This is not the same as the union of male-female as envisaged by the Demiurge and the Dark Powers that are trying to bring this about. The term, in the works of Don Miguel, is used of the Divine Hero who seeks to recreate the Divine Wholeness of the Golden Age, but at the next level up. There must be a significance in the writer using the term, and replacing it with 'disorder'.
In order to understand such a weird film it is necessary to watch it a few times, I have no doubt of that. There were numbers that appeared, such as '43' on a van' '17' on a castle, and '674' on a tram, but it is not clear what they meant; there were likely more that I missed. There were also names which were obviously significant - a place called Ceg Uffern in Wales, 'uffern' meaning 'hell'. There were also five Tarot Cards shown - Death, The Hanged Man, The World, The Moon, and the Tower of Destruction. Anyway, what I will do is do a short account of the story, which is, in view of what is happening around us today, important.
The story starts with a scene on another planet where there is a dead tree on a sea shore. Beside the dead tree is a dark figure that seems to be enclosed in some form of 'shell' (that is the best I can describe this); a dark figure called Asrael ('Angel of Death') is trying to awaken this dark figure, who is his mother - Magog. Another figure, tall, blond, and dressed in pure white, Helith ('Hero'), is trying to stop his brother, the Dark Angel of Death, from doing so.
The scene changes to that of ship travelling from Denmark to England, on which is a mysterious man called Drachenfeld ('Dragon-Field') who is an organist and composer. Drachenfeld meets one of the main characters called 'Gwen' (White - Welsh), who has a boyfriend named 'Gideon' ('He who cuts down' - Hebrew) who is an occult writer. Drachenfeld invites Gwen and Gideon to his home, which they go to later. In the meantime, there are a series of mysterious suicides around England and Ireland. I will leave out the details because there would not be room for everything, and we need to keep to the important parts of the story.
We move to a point where Gideon is staying in his camper-van at a place called 'Ceg Uffern' in Wales, beside a steep cliff. He calls Gwen on a pay-phone (before the time when mobiles were rife), and they have a row, so he goes back to the camper-van. There he maps out the places of the suicides, making a five-pointed pentagram. Suddenly he realises Gwen is in danger and goes back to the payphone to get hold of her - which he fails to do. The camper-van explodes in a ball of flame, and he is thrown out of the pay-phone onto the edge of the cliffs. There he is rescued by a helicopter.
He finds himself in a small cottage, tended for by Helith. When he is well enough they go in a small boat across the seas to another land, to a 'City of Sickness'; in this city he is on a tram, the passengers of which are all coughing and one falls over with the sickness. Helith tells Gideon he is 'immune' to all this, but the city is rife with a sickness (obviously some form of lung-disease!). He wanders for ages after losing Helith and a blond woman tells him to meet her at the 'cathedral'.
For some reason (must have missed something here) he goes to an entrance in a hillside, where he goes through a tunnel into a massive underground complex. Inside this are rows and rows of locked doors, but he finds one of them open and goes inside. Inside this room is a man behind a large computer; he is looking at a large screen showing a person in a small room. The person is looking at a wall showing a scene of a shore, but this is being manipulated by the man behind the computer who is using a form of 'hologram' (think that is what this type of thing is called) to manipulate the mind of the person in the room to think that he/she is seeing this natural scene. The computer can add such things as wind etc. which makes the person feel it is real - 'virtual reality' is what it would be called now, but this is back in 1981.
The computer-man changes the screen to another room in which we find Gwen, Gideon's girl-friend: Gideon is incensed by this and takes a cord and strangles the computer operator, killing him. He then tries to free Gwen through using the computer and when he enters her room he finds that she has killed the nurse who came in to see her. These are the only real acts of violence in the film. They escape in a van that they steal, coming out of a small building on a hilltop, that hides this massive underground complex.
It would seem rather obvious with the 'City of Sickness' (Covid-19) and this underground complex experimenting upon human beings (mind-control techniques) that we are dealing with a scenario much as we have today, some 39 years later. This is made clear by some points which I am going to 'bullet' to keep this short -
- The people are locked down in small rooms, where they are being experimented upon through mind-control.
- The computer-man has the program - Preliminary, Transference, Control, which is the three-fold 'initiation' that I have covered in the past.
- The phrase 'I am of the Chosen' and the 'separation of the Earth' is made in regard to the 'controllers'.
- The phrase 'I Am what I Am' is made, a biblical term, a term used of Yahweh/Jehovah. But this is made even more sinister because he says 'I Am what I am - and man will have me triumph'.
- Someone says - 'freedom, innocence - gone!' We all recognise this now.
Moving to the end of the story we find Gideon and Gwen heading for a BBC Concert where Drachenfeld is playing the organ in front of an audience. The aim, it appears, is to invoke the power of Magog - the 'mother' - into the world, using the music of Bach, but in a twisted manner by a man who has been manipulating Drachenfeld by keeping his mother alive so long as he does his bidding. (Notice that this clearly shows a BBC concert used to invoke this Dark Force). The man is Asrael (Angel of Death). On route Gideon sees a White Horse upon which is a White Headless Rider and then the Children of Asrael who he ploughs through. It ends with Asrael being stopped and dying, and Magog unable to materialise.
We have here the typical archetypes of the 'Twins', one Light and one Dark, and the struggle by the Light Twin to overcome the Dark Twin and his aims for world domination. The names are obviously important, and the phrases used from the Old Testament. Unlike Huxley's Brave New World this does not appear to be showing the Global Agenda, because the Light Forces defeat the Dark Forces. The theme is based upon an old German Folk-Tale where the plot is based upon the conflict of the Spirit of Evil (Asrael) and the Spirit of Christian Love (Nefta) (*); this would have an older and more precise tale of the Eternal War between Good and Evil Forces. A opera called 'Asrael' was performed on February 18th 1888; the name 'Asrael' is Hebrew for 'Angel of Death'.
(*) It is perhaps noteworthy that the play uses Asrael but replaces the Christian Nefta with Helith, the name of a Saxon God. As far as I know this play came after one by the same producer and writer - Penda's Fen. The latter is named after the English Heathen King Penda. The films were coming out at the stage when the BBC was starting its degenerative phase, and this must be taken into account. However, the writer himself may have been tapping into certain 'archetypes'.
Artemis is the Greek Goddess of Hunting, associated with Seven Hounds usually; she is the Diana of the Ephesians and Romans. She would be the equivalent to Skadi the Huntress in Norse Mythology. 81 is the number of the Moon-Square I believe in Occult Lore.