#nibiru

[metamorphosis-000]

In his 1976 book The Twelfth Planet, Russian-American author Zecharia Sitchin claimed that the Anunnaki were actually a race of extraterrestrial beings from the undiscovered planet Nibiru, who came to Earth around 500,000 years ago in order to mine gold. According to Sitchin, the Anunnaki genetically engineered homo erectus to create modern humans to work as their slaves. Sitchin claimed that the Anunnaki were forced to leave Earth when Antarctic glaciers melted, causing the Flood of Noah, which also destroyed the Anunnaki’s bases on Earth. These had to be rebuilt and the Nephilim, needing more humans to help in this massive effort, taught them agriculture. Ronald H. Fritze writes that, according to Sitchin, “the Annunaki built the pyramids and all the other monumental structures from around the world that ancient astronaut theorists consider so impossible to build without highly advanced technologies.“Sitchin also claimed that the Anunnaki had left behind human-alien hybrids, some of whom may still be alive today, unaware of their alien ancestry. Sitchin expanded on this mythology in later works, including The Stairway to Heaven (1980) and The Wars of Gods and Men (1985). In The End of Days: Armageddon and the Prophecy of the Return (2007), Sitchin predicted that the Anunnaki would return to earth, possibly as soon as 2012, corresponding to the end of the Mesoamerican Long Count calendar.

[theresattrpgforthat]

Mint Plays Games: NIbiru

The Pitch

Nibiru is a game about amnesiac characters called Vagabonds, wandering a gigantic space-station habitat in a speculative future, trying to keep their identities a secret even while working to uncover pieces of their memories that they’re slowly starting to recover. It’s a unique game because you create your character backstory as you play, rather than inventing your backstory during character creation.

I find it hard to describe the setting of Nibiru, and I think that’s because there’s so much lore placed inside this game. The locations of the setting are divided into three sections: the Antumbra, The Penumbra, and The Umbra. The Antumbra is located in the centre of the space station, is the most easily habitable, and acts as a series of urban cityscapes, ripe for political intrigue and big social games. The Penumbra is a series of colonies, struggling to maintain control resources, and pushing back against the powerful, well-funded city states of the centre. The Umbra is the barely survivable borders, where gravity pressure, floods and blackouts constantly threaten your life, and small communities try to get by in a setting great for exploration and eerie adventures. Any given group is expected to find ample inspiration in just one of these areas; you certainly aren’t expected to explore the entire breadth of the station (although you can if you want to, of course. It’s your game).

Being a game about amnesiacs, character creation is rather simple. Because you are playing amnesiacs, you don’t have to select a skill list, but rather build your skills alongside your memories; every time you recall a memory, you either give yourself a negative modifier and earn Memory Points, or you spend previously earned Memory Points and give yourself a positive memory. But at the beginning, all you need to do is choose a habitat that carries themes that feel resonant to you, and think about how that might affect your character. However, the Habitats give you the core themes of what you want your character’s story to be about, and I think they’re very special.

The Habitats

There are five Habitats: The Machine, The Leviathan, The Dreadlands, The Dreamlands, and Brighttown. If you are from The Machine, you were some kind of robot or AI in your past life; at some point you gained sentience, and now you’ve awoken in a human body. If you are from The Leviathan, you were originally some kind of animal, driven by instinct; and while your body is different now, those instincts are still there. Dreadlands inhabitants suffer false recollections provided by a parasite called The Nightmare, which turns all of your skills into negative memories, but still shelters and protects you, and gives you plenty of chances to re-try something you’ve rolled poorly on. Dreamlands inhabitants do not collect one set of memories, but rather find themselves reliving periods of various other lives, of people that they meet as they go about the world. And finally, Brighttown players can play versions of themselves, dropped from the mundane world into an alien environment that still occasionally turns up artifacts of the world they came from; pieces of their old life continue to haunt them.

I played a two-shot of Nibiru over the past few months. I had four players for this game, each of whom picked a different habitat to play with. We didn’t have anyone to play the Leviathan habitat, but all of the others were represented. Our first session involved introducing the players to the system, while the characters woke up in a tank of water and found themselves meeting a small settlement that needed help sending aid to their neighbours. Our second session involved a voyage through a series of flooded corridors, dealing with hostile wildlife and suspicious patrols on their way to a hidden settlement built around a strange landmark. From a GM’s perspective, it was a simple delivery mission: get something from point A to point B, and deal with whatever obstacles pop up in front of you.

The Mechanics

This game only uses d4's. In order to do something in Nibiru, a character must make one of three rolls: a regular roll, a contested roll, or a special roll. A regular roll involves rolling 3 dice, adding or subtracting dice according to relevant modifiers, and looking for at least one 4. A result with at least one 4 is a success; a result with no 4’s and at least one 1 is a critical failure. A contested roll involves two players rolling 3 (or more) d4’s and adding them up. The highest total determines who wins out. Finally, a special roll is invoked by the GM whenever the character engages with a special mechanic of the game, either a Stress test, a Habitat mechanic, or some other special rule. Typically a 4 is good and a 1 is bad, but there can be more nuance, depending on what you’re rolling for.

Just from the two-shot, I could tell that Nibiru is more designed for the long haul. Character progression is slow, using two different kinds of experience points, and characters will level up only after filling a journal page with eight memories. Creating these memories is one way to spend these experience points, as well as a way to generate more. This encourages most players to switch between creating positive and negative memories, generating both positive and negative modifiers to any given roll. The biggest advancements happen at the end of the journal page, where characters write something called a Revelation - a special power that uses the second type of XP as a resource, to allow the players do something unique and powerful, such as experience premonitions of the future, or cry black tears that can be used as a poison. Over our two-session adventure, we got nowhere near receiving a Revelation.

That being said, we did play enough of a game to get a good taste of what I think is the most interesting thing about Nibiru - the memories.

The Memories

We began the game with an opening scene of each character pulling themselves from the water, gasping for air, and being confronted with their very first link or memory - something that established each characters’ expected tone. Our Machine character wanted to recall a series of disjointed recollections of the space-ship they were responsible for, and hint at the tragedy that caused them to lose the entire crew. Our Dreadlands character began a series of memories of things going wrong around her home; people arguing and breaking in, threatening those that she held dear. Our Dreamlands character began telling a series of stories about the man he woke up next to; following the confusing tangle of events of his life journeying through the Umbra, and our Brighttown character described to us a memory of something incredibly familiar: a movie theatre, and the ticket that came with them to this new, alien world.

These memories weren’t just establishing character backstory, they were giving the players a chance to build a history collaboratively, and build parts of the world. They also gave the players control over what kind of tone they wanted to set; a Dreadlands player that is consistently creating negative memories is setting a gritty undertone that contrasts the bright, but distant memories of Brighttown. The different themes of the habitats were also clear signposts: a Dreamlands player knows that at some point they might have to help the NPCs they meet reconcile with lost parts of their past, and the decisions they make about what parts to reveal and what parts to keep quiet about says something about who their character is - and how they judge the other people they meet in Nibiru.

The Letdown

My biggest letdown regarding Nibiru is not what it provides, but what it lacks: incentives for the characters to relate and depend on each-other. The players had no reason to turn to each-other while they were wrestling with their own personal emotions: I suppose thematically, they might have had a narrative reason to do so, but there was no mechanical prompt or reward.

It was rather easy to emotionally or physically isolate oneself from the group, working together when only you were in danger, but not sharing their memories or working through their lost paths together. In some games, like Thirsty Sword Lesbians, or Last Fleet, characters are drawn or pushed together, seeing each-other as resources or tools to use, but in either case forcing the characters to confront each-other’s vulnerabilities. Nibiru’s introspection makes for a rich character experience, but in isolation, and as a result it was more like telling four separate stories, than one cohesive one.

The Takeaway

One thing Nibiru reinforces for me is the fact that you don’t really need a backstory for a character in order to find them worth playing. And the themes introduced in Nibiru’s habitats have me thinking about how baking the themes of the game into the character backstory that you do have can tie your players more closely to the setting than otherwise. As amnesiacs, your characters have a solid reason not to know any of the lore, but the fact that the players know where their memories are coming from give them enough agency to hint towards the kind of stories they want to tell. Nibiru is a game about discovery: discovering who you are, and what the world around you is like.

Nibiru is also a game with plenty of space for tragic stories. Your character sheet has space for a number of symptoms that will start to affect your character should they take too much mental damage, and these symptoms can range from hearing voices to experiencing delusions. There's a lot about mental health and memory loss tied up in the mechanics of this game, which means that as a group you need to have a talk about what sorts of themes you're comfortable experiencing, and whether there's any consequences you need to avoid for safety reasons.

I think Nibiru has the potential to create a very emotional experience for your table, but I think that you have to play this game with folks who you can expect to naturally turn to each-other even as they introspect. Mechanically, it's beginner friendly, but when it comes to role-play, it demands a level of vulnerability that I'm not sure every table wants to have.

You can check out my spreadsheet play-kit for Nibiru here.

[ectonika]

I haven't posted anything for a long time. Keep some of my pictures!

Art of new series

And my au :

[alphashley14]

“We have the whole thing. That leaves only one question.”

“…What do we do now?”

[hezzabeth]

The trumpets were old plastic souvenirs painted gold, so the off-key wailing was hardly surprising. A band of disheveled people marched onto the stage, still blowing on the plastic trumpets. Surprisingly, Isabeau was among them, her face displaying a bored, blank expression. They abruptly stopped once they reached the center of the scaffold, the wood creaking under their feet.

A man wearing green tights and a shirt reading "Medieval Christmas market 3345" on it walked onto the stage. His hair had been cut into a peculiar bowl shape with a blunt fringe, and someone had painted red circles on his cheeks.

"All hail Sister Morganna! Conduit of the one true god," the man bellowed in a surprisingly high-pitched voice.

“Did you bring your solar flare gun?” Dityaa asked.

“Of course I did! I never go anywhere without it,” Revati snapped back.

Revati had never seen Sister Morganna up close. During her childhood visits, Sister Morganna was a distant figure. Glimpses of her gloved hands could be seen waving from the castle windows. Every summer solstice, she would lead a parade across the park, carried by men in a gold and white carriage. Through the mesh curtain windows, her shadowy figure could be seen shifting about. Now, Sister Morganna was walking across the scaffold boldly and freely.

She was dressed in a sky-blue and emerald dress, with a thick red and golden scarf covering her scalp, the ends trailing down her shoulders. Slowly, she turned toward the waiting audience, and Revati gasped. Sister Morganna's skin was the same color as fresh lavender. A single round, circular eye glanced about—an eye that could see and understand everything, even things that had yet to be—an eye that could glance into the very nature of people.

“She’s an alien!” whispered Dityaa.

It was an eye that could read minds; no wonder she had successfully started a cult.

“Technically, she’s a human from a faraway planet,” Revati hissed back.

The "faraway planet" was the closest the solar system got to actual aliens. Over a thousand years ago, a group of scientists set off to colonize Pluto. Obviously, they vanished, the ship sinking into the darkness of space. Three hundred years ago, their descendants returned. They were, of course, different.

Sister Morganna calmly walked across the stage and raised her hand.

“Praise be to Marduk, son of the sun, radiant is he,” Sister Morganna said.

“Radiant is he,” the crowd echoed, their expressions blank.

“Who’s Marduk?” Hissed Dityaa.

Revati merely shrugged, completely confused.

“Today we bring forward two heretics, those who smother the great transition,” Sister Morganna said, gesturing towards Bridgadeiro and Aurora.

“Heretic? I don’t even understand what I did! All I said was 'Bless Goup' when my new friend sneezed,” Bridgadeiro argued, nodding at Aurora.

“And I didn’t do anything! I swear,” Aurora cried.

“Goup is a lie! A false prophet created by an ancient snake oil seller,” Sister Morganna said with a small, tight smile.

“False prophet? The rainbow mat of crystal light has been proven to work! It balances your mind, body, and spirit,” Bridgadeiro smiled, and Sister Morganna turned to him, her one eye slowly blinking.

“I can see you standing on that mat, praying to the dark,” she whispered. “Your brother, he drowned, didn’t he? On that hot summer night? You cried and prayed! You think it was her that brought him back,” she added, and the smile dropped from Bridgadeiro’s face.

“She did save him! Goup saved him,” Bridgadeiro said, and Sister Morganna shook her head.

“Oh, you’re a true believer... you poor little boy,” she sighed. “Some gods are lies, but Marduk is true and ancient. My people have lived on his surface! We have been blessed with his gifts! Praise Marduk,” Sister Morganna said.

“Praise Marduk,” the entire crowd screamed, including Revati, who found herself clapping her hand over her mouth. Sister Marduk had hijacked her vocal cords.

“Now repent and embrace Marduk or sacrifice your light to his glory,” Sister Marduk cried.

“I repent! All hail Marduk!” Aurora cried, bursting into tears.

“Well, I’m not repenting. Marduk is just another name for your home planet that blew up centuries ago,” Bridgadeiro said with a small shrug.

“Very well,” Sister Morganna said. Revati sighed, pulling out her solar gun and setting the final charge to maximum.

“Oh, you’re not going to…” whispered Dityaa, and Revati nodded, pulling the trigger.

The solar flare hit the stage in a blinding loop of ultraviolet light. Sister Morganna screamed, flying upwards and landing face-first in the crowd, her body twitching.

“Praise Marduk! This must be an omen!” Aurora smartly yelled from the stage.

The crowd, no longer under Sister Morganna’s control, began to scatter in all directions. Some stumbled towards the fallen leader, striking her with whatever they could find. Others pushed and shoved each other, stumbling over cobblestones.

Through it all, Bridgadeiro stood, completely confused, his hands still tied behind his back. People pushed and shoved, stumbling over each other and tripping on the slick cobblestones. Revati fought through the tidal wave of chaos until she reached the scaffold again. Bridgadeiro was staring down at her, completely transfixed.

“Did you just save my life again?” He asked.

“Yes!” Revati replied, climbing up to the scaffold.

“I didn’t mean for this to happen! He said it so quickly,” Aurora said as Revati began to undo her bound hands.

“It was pure instinct!” protested Bridgadeiro.

The crowd was starting to swarm towards the stage like ants around a sugar cube. From above, Revati could see the smoking, twitching form of Sister Morganna.

“What are they doing?” Bridgadeiro asked, and there was a faint creaking sound as Isabeau joined Revati.

“They’re probably going to kill her; none of them wanted to worship an ancient Babylonian god!” Isabeau said and then she smiled. An actual smile. “I can talk normally again! She’s really gone!” Isabeau cried with delight as Aurora pulled her hands free.

“She’s gone!” Aurora echoed, grabbing Isabeau. Revati watched them kiss for a fraction of a second before politely turning her head.

“Did she really control all these people with her mind? Why would she do that?” Bridgadeiro asked as Revati began to undo his constraints.

“The tornado and the second invasion messed a lot of people up,” Revati merely replied.

“You seem fine,” Bridgadeiro replied, and Revati chuckled.

“Trust me, I’m not fine,” Revati said firmly. Life on Baker Street before the tornado had been hard. But there had been drawing lessons with her father. There had been fairytales with her mother. There had been tea parties with Dityaa. Dityaa.

“Where’s Dityaa?” Revati said as Bridgadeiro tugged his hands free. There was no telltale flash of Snow White silk in the crowd. Everyone was dressed in shades of green and mud brown.

“She was out there before,” Bridgadeiro said, gesturing to the bottom left corner of the courtyard. Revati jumped swiftly off the scaffold, ignoring the pain searing up her ankles. People were pressing in from all sides, shrieking, laughing, and, in some cases, singing. A blur of purple skin and red fabric passed her head on outstretched hands.

“Did you see a girl in a white dress?” Revati screamed in general; no one answered, and the crowd pushed her forward. People were spilling out of the courtyard into the laneways. Someone had decided to start looting the shops. Revati felt herself thrown against a wall, crushed face-first into the bricks. A hand grabbed hers, calloused, well-worn fingers gripping her wrist.

“I saw her at the end of the crowd! This way!” Bridgadeiro ordered her.

“You’re helping,” Revati gasped; something hot and red was trickling down her cheek. Revati was bleeding.

“Let the crowd push you forward; don’t fight it and try not to stumble,” Bridgadeiro said firmly, still holding her hand. The crowd surged and pressed in. Revati could see nothing but gleeful faces, smell nothing but hot, foul sweat.

Then suddenly, the crowd began to break into pieces, trickling away like water. They had reached the back wall of Medieval Faire. There was a hole in the wall. A massive hole. Beyond the hole lay the freezing wilderness of Mars. People were climbing out of the hole, running into the cube-shaped snow. One of them was Dityaa, spinning around and dancing with the Duke of Io. Dityaa spotted them and waved happily.

“They’re all going to freeze to death,” Revati realized, marching to the hole.

“It looks like some of them had enough to steal jackets,” Bridgadeiro added. Revati and Dityaa rarely left the park. When they did, Amma always made them wear her old protective gear. Dityaa seemed oblivious to the cold. It was almost as if the Duke's love was covering her in a warm, sacred light.

The escaping people were beginning to join in with their dancing.

“Look! He was waiting for me outside the wall,” Dityaa yelled, resting her head on his shoulder. Revati stepped closer to the wall. Revati let go of Bridgadeiro’s hand and carefully climbed through the hole. The freezing winter of Mars blew around her, fighting against the park's atmospheric heating system. Snow began to blow around her chest, and Revati felt flushed and dizzy.

The Duke was dressed in the same outfit from the night before. The same thin jacket and trousers. Up close, his blue hair was a little too shiny. Up close, Revati could actually feel heat wafting off his body.

“The Duke was waiting for you… outside in that outfit?” Revati asked suspiciously. Dityaa’s expression froze for a moment as if considering this.

“Sissy’s right! Let’s get out of the cold, darling; I have so much to tell you,” smiled Dityaa. The Duke held up a hand. The tip of his finger turned blue.

“Ah, the sister,” he remarked, reaching towards Revati. His eyes glowed with the brilliance of true Ai, and darkness prevailed.

Here's the revised text with corrected spelling and grammar:

True, jet-black, soothing darkness.

For Revati, who spent most of her nights lost in nightmares, it was actually comforting.

In fact, Revati felt herself sink into it.

The darkness was as soft as the mattress she once slept on.

“Oh, don’t sink into it, Dimpy. It’s not time for that,” her father’s voice whispered in her ear.

Dimpy.

Revati was Dimpy, Dityaa was Rinky.

Jay would draw pictures of them flying across the stars with wings.

Dimpy and Rinky; the sisters were so close they could be twins.

“You’re not real. You died, and your consciousness is in a plastic box,” Revati muttered.

The darkness was warm and sleepy, lulling Revati into nothing at all.

“Some of me is in that box, but scientists don’t know everything. Some of me is also in you, in your sister, and in your mother,” her father’s voice said.

“And I’m guessing I’m dead?” Revati whispered.

“No, you’re just recovering from a traumatic brain injury. Someone has placed a standard issue healing pad on your forehead,” Jay’s voice replied soothingly.

“And how do you know that?” Revati groaned doubtfully.

A distant, tiny light had appeared in the dark.

A pinprick that seemed to strip away things.

“Dimpy, you know I was a nurse! Relax, your glia cells are busy repairing themselves. Look, they move like fireflies,” her father said.

He was right; more dots of light had appeared.

They buzzed around gently.

For a moment, one of them flashed, lighting up everything.

Revati, in that second, saw a much younger Dityaa handing her a doll.

“I remember that doll. I bought it the day Dityaa was born,” her father said.

“Dityaa tried to give it to me after we buried you. I told her I’d take the book of fairy tales instead,” Revati remembered.

“Once upon a time, in the ancient kingdom of Mithila, the earth yielded a miraculous gift. A baby girl was born. She was discovered in a furrow by King Janaka and named Sita. As she grew, her grace and beauty were matched only by her wisdom and strength of character.

One day, Rama, a prince known for his valor and virtue, won her hand in marriage by stringing the mighty bow of Lord Shiva.

Soon after the wedding, Rama and his best friend were exiled to the forest. Sita, full of devotion, followed.

The forest was dark and full of dangers.

The most dangerous being was the demon king Ravana,” a woman’s voice, the voice of the maternity droid, whispered.

The lights were growing stronger, and Revati remembered something.

“Dityaa’s in trouble,” Revati realized.

“Yes, she is,” her father replied.

Revati’s mind was so bright she could see her father.

He looked younger than what she remembered.

He was dressed in the blue protective outfit Amma kept packed away.

Standing next to him was a woman.

A familiar woman cloaked in a fuchsia and green saree.

“You’re the lost princess,” Revati realized, and the Princess nodded.

“Wake me up, wake me up, and I will find my daughter,” the Lost Princess insisted.

[crossoverheaven]

We live to serve our master but also we ARE our master, sort of?

BONUS:

[nebu-lime]

Folklórico Nibiru!

Inspired by @satellites-halo ‘s post (not my fursona, but sona :] )

[edelweisscowboy]

i love when shows do this (i may be heavily biased because it's one of my all time faves)

rewatching (for the second time) scooby doo mystery inc as it was one of my main childhood comfort series and i still get amazed at the writing, the development of the plot, and how a silly little episode in season 1 becomes heavily relevant to the main mystery a season and a half later

(spoilers ahead about this. if you haven't watched scooby doo mystery inc what are you waiting for??? i love it so so much highly recommend)

i always found it weird that mr. e gave the kids a message in S1E2 essentially telling them to check gatorsburg. his help and clues in other mysteries i understood, like sure, there is this creature terrorising crystal cove and mr. e gives a clue about it to the kids, whatever. but why give them a prompt to check on another different abandoned town? i remember watching the gatorsburg episode a lot as a kid (this and the darrow mansion episode are the most memorable for me) and i never understood.

S2E15 mentions gatorsburg again, when the friar explains that his donkey porto went crazy because of nibiru, that he was manipulated by the evil entity. when the friar was following porto to try to stop the plan to destroy crystal cove, they ended up at gatorsburg. "the dog dies", as seen on the gatorsburg hotel's broken light sign was all along, indeed, an omen given to scooby. the friar confirms this by repeating and remembering these exact same words, and pointing out that "it all starts with the animal" and "this has happened all before".

also the fact that mr. e wanted them to investigate gatorsburg feeds the "it's all happened before" narrative. he wants the kids to know about the planispheric disk. he uses them to find the pieces, too. but how much did he know about gatorsburg and the role it has in the friar's storyline about nibiru? actually, how much does anyone else aside from the kids (fred, daphne, velma, shaggy and scooby) know about the truth? in crystal cove it is believed that the friar and the donkey saved the town when it sunk to the bottom of the sea, but the friar's ghost tells the kids the true story: the donkey was possessed by the evil spirit and caused the destruction of crystal cove.

maybe there was some information about the truth of the friar's story in the burlington library? (as seen in another episode that burlington's studies were centered around other previous mystery solving groups formed by 4 humans and 1 animal) perhaps the original mystery inc. got to know about oswald burlington and the benevolent lodge of mystery too? and by studying their archives found about the friar's true story?

it's all happened before. it's all happened before.

[limeade-arcade]

Hey! Desynced recently debuted the 'Nibiru' Album! I got to make 4 track arts for it and you can check it out here:

[theresattrpgforthat]

Nibiru Spreadsheets

Nibiru is a sci-fi-fantasy game about lost memories and a space station habitat large enough to carry vast territories. You play as amnesiacs trying to recovery your memories, while wrestling with your fragmented pasts and trying to figure out why you are where you are in the first place.

I've created some spreadsheet play-kits to make online play a little bit easier. It has a safety tools tab, a character sheet that you can duplicate for every player involved, and a few rules references to make play a little bit easier.

You can check out the game here. You can also create a copy of this character sheet for yourself here.

If you want to see the folder of Google playkits that I've made for various games, you can click the link below.

Clicky.

[yolivirus]

IRIX... AGAIN!!!

such a looser i love him

[skygodz]

The Epic of Gilgamesh is an epic poem from ancient Mesopotamia. Recreation of the mythical creature Lamassu.

👁👁👁⛰⛰⛰

[maddyisabstract]

Day 5 of #RPGaDAY2024!

Nibiru was one of the main ways I got through the pandemic. The campaign we played is still very special to me. The worldbuilding in this book is so rich and detailed, and offers so many creative threads to pull on. I also always wax lyrical about the memory mechanics, which help you build your amnesiac character as you play.

[mineofilms]

The Myth of the Annunaki

In the great annals of human history, ha, anal, mostly made up of fiction, few subjects stir the imagination and ad to the aluminum foil shortage as profoundly as the Annunaki. Shrouded in myth and enigma, these ancient deities from Mesopotamian lore have sparked debates, inspired theories, created fiction, and captivated minds across the centuries. From their origins in the fertile crescent of ancient Sumer to their role in modern speculative fiction, the Annunaki embody a rich tapestry of myth, history, and imagination. This exploration delves into their ancient roots, their controversial modern reinterpretations, the fascination evoked by our imagination, and our ability to want things to be real so bad, that we’ll just take as many liberties as possible; even if all the evidence and logic say a thing like this couldn’t be real. Or could it?

The Ancient Mesopotamian Origins of the Annunaki

Our journey begins in the cradle of civilization: ancient Mesopotamia, a region that flourished between the Tigris and Euphrates rivers. Here, the Annunaki first appeared in the mythologies of the Sumerians, who are considered the earliest civilization that could write. The term "Annunaki" itself is often translated as “those who came from the heavens” or “those of royal blood.” This intriguing terminology hints at their elevated status and their perceived connection to the divine or extraterrestrial. In Sumerian mythology, the Annunaki were a pantheon of deities, or the gods of a people, who played crucial roles in the creation of our world and the regulation of its life. They were seen as powerful and unpredictable beings, with the ability to both bestow blessings and wreak havoc upon humanity. The mythological texts from this period reveal that the Annunaki were not abstract concepts but tangible entities with distinct personalities and roles. One of the key sources for understanding the Annunaki is the “Enuma Elish,” the Sumerian creation epic. This ancient narrative describes the primordial chaos from which the world emerged. This myth reflects the Sumerians' worldview, where divine power maintained the balance between chaos and order. The Annunaki's role in Sumerian society extended beyond mere mythology. They were believed to oversee the natural world and human affairs, acting as intermediaries between the gods and the people. Their stories served to justify the divine authority of kings and priests, reinforcing the idea that the rulers were chosen by the gods to maintain cosmic balance from the chaos. This divine connection legitimized the socio-political structures of ancient Mesopotamian civilization.

The Annunaki Reimagined: From Gods to Aliens

In the 20th century, the Annunaki transitioned from divine beings of ancient myth to subjects of modern speculation and conspiracy theories. This transformation was spearheaded by figures like Zecharia Sitchin, whose works have left a permanent mark on how we perceive these ancient myths. Sitchin’s ideas are detailed in his book “The 12th Planet,” where he presents the Annunaki as extraterrestrial visitors from a distant planet named Nibiru. Sitchin’s hypothesis posits that the Annunaki arrived on Earth approximately 450,000 years ago (447,976 BCE). According to his theories, their primary mission was to mine gold, which they needed to repair the failing atmosphere of their home planet, Nibiru. There is some scientific data out there that gold particles can help build up a planet’s atmosphere. There are some intriguing parallels in scientific discussions about the potential uses of gold in atmospheric engineering. Gold is a highly reflective metal with excellent conductive properties, making it suitable for various technological applications. Some we know of and use while others are still in the planning stages. Research has suggested that dispersing gold nanoparticles in the upper atmosphere could theoretically increase a planet's reflectivity, or albedo, thereby reducing the amount of solar energy absorbed and mitigating global warming. Additionally, gold's conductive properties might enhance the electrical conductivity of the ionosphere, potentially stabilizing atmospheric conditions and protecting against solar radiation. While Sitchin's narrative lacks actual real concrete proof, the concept of using gold to address planetary environmental challenges taps into ongoing scientific exploration of innovative geoengineering solutions. Sitchin’s interpretation of ancient texts suggests that the Annunaki’s arrival marked the beginning of human civilization. He argues that these beings not only influenced early human societies but also engineered Homo sapiens through genetic manipulation. This theory, while compelling to many, is highly contentious. Sitchin’s methods and interpretations have faced substantial criticism from the academic community. It's important to note that Zecharia Sitchin lacked formal training in ancient languages and archaeology. His educational background was in economics and journalism, not in the fields relevant to his claims about Sumerian texts and ancient history. This lack of formal expertise has led many academics to criticize his translations and interpretations as speculative and unsubstantiated. His methodology and conclusions have been scrutinized for deviating from established scholarly standards, which is why his work is often labeled as pseudoscience. Pseudoscience literally means science with made-up methodologies and made-up facts. Archaeologists and historians argue that there is no credible evidence supporting the existence of Nibiru or the extraterrestrial origins of the Annunaki. His translations of Sumerian texts are flawed and his theories often stretch the evidence beyond credible limits. Despite this, Sitchin’s ideas have captivated a broad audience, fostering a popular narrative that blends ancient mythology with science fiction. His theories have become a cornerstone of the ancient astronaut hypothesis, which suggests that extraterrestrial beings visited Earth in ancient times and influenced human development. This concept resonates with our fascination with the possibility of life beyond Earth and our desire to explore the unknown or at the very least have an answer where one cannot possibly exist or be factual.

Sitchin’s Controversial Claims: Ancient Astronauts or Misinterpreted Texts?

Sitchin’s theories, particularly those presented in “The 12th Planet,” offer a provocative reimagining of the Annunaki. Sitchin suggests that Nibiru, the Annunaki’s home planet, follows a long, elliptical orbit that brings it close to Earth every 3,600 years. This periodic return, according to Sitchin, allowed the Annunaki to visit Earth and influence human civilization. Sitchin’s narrative begins with the Annunaki’s arrival on Earth, where they established the city of Eridu as their base of operations. Eridu, according to Sitchin, was the first city ever built by these ancient astronauts, serving as a center for their gold mining operations. Over time, the work on Earth became increasingly burdensome and dangerous for the Anunnaki, leading to a significant labor shortage. The Anunnaki’s own workers, who were initially tasked with these duties, were becoming overworked and dissatisfied. We will talk about the Igigi a little bit later. The idea was to create a new species that could handle the manual labor on Earth while the Anunnaki themselves could focus on more critical tasks or return to Nibiru. This led to the concept of bioengineering a creature that would serve as a workforce. The Anunnaki began experimenting with the DNA of the indigenous hominid species, Homo erectus. Through advanced genetic techniques, they combined their own DNA with that of Homo erectus to create a new hybrid species. This genetic manipulation was intended to produce beings with intelligence and physical capabilities suitable for labor. The first attempts at creating this new species were, according to Sitchin, less successful than anticipated. These early hybrids were described as "hideous creatures," struggling to meet the Anunnaki’s requirements for both labor and functionality. These early beings were likely flawed, either in their physical form or in their ability to perform the tasks required of them. Undeterred by their initial failures, the Anunnaki refined their genetic experiments. After several iterations and adjustments, they succeeded in creating a more viable and efficient version of their hybrid creation: Homo sapiens, the modern human. These beings possessed the intelligence, strength, and adaptability necessary for the laborious tasks demanded by the Anunnaki. Once successful, the Anunnaki established Homo sapiens as their labor force, overseeing them and guiding their development. This new species was tasked with performing the menial and physically demanding work that the Anunnaki had initially sought to avoid.

While there are some intriguing gaps and mysteries in human evolution, like missing fossils and sudden advancements in early cultures, scientists believe these are just natural parts of a long, gradual process rather than evidence of any external intervention. One fascinating example is the emergence of our 23rd chromosome, which resulted from the fusion of two ancestral chromosomes that our primate relatives still have as separate chromosomes. This fusion is visible in our DNA through the presence of telomere sequences and a vestigial centromere in the middle of chromosome 2, showing a natural evolutionary change rather than a direct “kick-start” from another species. However, it does bring up more questions than it does answers that all of a sudden this change occurred with no rhyme or reason. “Any sufficiently advanced technology is indistinguishable from magic” - Arthur C. Clarke. Sitchin’s theories also include a dramatic account of the great flood from the bible, which he attributes to the gravitational effects of Nibiru’s orbit. This flood, he argues, was foreseen by the Annunaki, who warned a human named Ziusudra (or Utnapishtim in the Epic of Gilgamesh and/or Noah from the Great Flood of the Bible.) to build a boat to survive the deluge. After the flood, Sitchin posits that the Annunaki played a role in the rebirth of human civilization, teaching essential skills such as agriculture and animal husbandry; which is just a fancy term for focusing on the breeding and care of animals raised for farming and construction. While these ideas are intriguing, they have been met with skepticism from mainstream scholars. Critics argue that Sitchin’s theories lack rigorous academic support. Despite this, Sitchin’s work has had a significant cultural impact, inspiring a new wave of interest in ancient astronaut theories and alternative history. It also has become a business, which opens up its own can of worms on the subject.

The Modern Legacy of the Annunaki: From Books to Podcasts

The Annunaki mythos continues to capture the imagination of contemporary audiences through a variety of media. One prominent figure in this modern exploration is Billy Carson, whose work delves into ancient civilizations and the Annunaki’s role in shaping human history. Carson’s insights, particularly as discussed on “The Joe Rogan Experience (#2160),” explore how ancient myths might reflect actual historical events involving advanced beings. Carson argues that the Annunaki myths could be more than mere stories, suggesting that they might represent a blend of historical events and spiritual beliefs. His theories offer a contemporary perspective on the Annunaki narrative, examining how ancient myths might encode real encounters with extraterrestrial visitors. Carson’s discussions with Joe Rogan explore the idea that ancient texts from Sumerian culture, and other ancient civilizations, might document actual interactions with advanced beings. This perspective aligns with the broader ancient astronaut hypothesis, which suggests that myths of gods descending from the heavens could reflect historical contact with extraterrestrial civilizations. Billy Carson's theories are derived from Zecharia Sitchin's work. So take it with a grain of salt.

The Igigi in Annunaki Lore

The Igigi, as envisioned in contemporary speculative fiction, are often compared to the Greys of UFO lore—those mysterious, otherworldly beings who have captivated the imaginations of some and terrified others. Here, we encounter a striking physical resemblance that underscores their role within the Annunaki’s grand design. A concurred race from an early Annunaki invasion, these tall, slender beings, their forms reminiscent of the Greys with their short stature and large, almond-shaped eyes. Their skin, a subtle gray hue, reflects an alien quality, hinting at a nature that is both familiar and profoundly otherworldly. Their appearance serves as a visual manifestation of their role as intermediaries between the Annunaki and the cosmos. Dressed in functional, utilitarian garments, the Igigi’s attire speaks to their subservient status. These simple, perhaps even austere outfits might be adorned with symbols or insignia, marking their place within the Annunaki’s hierarchical system. Their clothing, devoid of adornment, reinforces their role as laborers rather than equals. The Annunaki and the Igigi are often mentioned as being one in the same but are actually two distinct separate alien species. At least as far as the lore goes.

• Tools of the Trade: Often depicted wielding advanced, enigmatic technology, the Igigi’s tools and equipment hint at a civilization far more advanced than that of humans. These artifacts, sleek and enigmatic, serve as symbols of the Annunaki’s technological prowess and the Igigi’s role in maintaining their dominion over Earth. Some say the tools leftover after the Annunaki left helped build the first, really large pyramids. The more present-day we get with the pyramids the less technologically advanced they are. Where the farther back we go, the bigger and more extravagant the pyramids become. The Igigi are often envisioned as the Annunaki’s labor force, tasked with monumental projects from the construction of grand temples to the maintenance of celestial machinery. This portrayal aligns with ancient mythological themes of divine beings employing subservient races to fulfill their plans.

• Subordinate Yet Significant: Within this narrative, the Igigi occupy a space that is subordinate yet distinctly advanced. They are positioned as beings with greater skills or knowledge than humans, suggesting a complex, multitiered structure of existence in which they play a crucial role in the Annunaki’s rein.

• Cultural Reflections: The Igigi physical form, their role in the Annunaki hierarchy, and their place in modern speculative fiction all serve as lenses through which we can explore deeper existential questions. The Igigi invites us to reflect on the nature of servitude, the structure of divine power, and our own place in the grand scheme of existence. We find ourselves drawn into cosmic feelings and thoughts that challenge and inspire us. It also scares us to our core foundation that we may just be an insignificant race of worker ants.

The Enuma Elish and Its Cosmic Significance

The Enuma Elish is an ancient Mesopotamian/Sumerian creation epic that dates back to the late second millennium BCE, (2000 BCE to 1001 BCE.) This epic is more than a religious text; it is a reflection of the Sumerians' understanding of the universe and their place within it. In the Enuma Elish, the universe begins in a state of primordial chaos, where Tiamat, the goddess of the saltwater ocean, battles the god Marduk, who represents the forces of order and creation. Marduk’s victory signifies the establishment of the cosmos, with the world being created from Tiamat’s body. This mythological narrative embodies the Sumerians' view of the divine as a force that imposes order upon chaos, a theme that echoes throughout Mesopotamian religion and governance. The epic also illustrates the Sumerians' concept of divine kingship. Marduk’s ascension to supremacy among the gods symbolizes the divine right of kings to rule over the human realm. The Annunaki’s role as divine judges and rulers reflects this belief, showing how mythology was intertwined with political and social structures in Sumerian society.

The Great Flood: Myth and Reality

One of the most enduring aspects of the Annunaki narrative is the story of the Great Flood, which appears in various ancient myths, including the Epic of Gilgamesh. According to Sitchin, this flood was a cataclysmic event caused by Nibiru’s orbit and was a pivotal moment in human history. The flood story serves as a metaphor for both destruction and renewal. It represents the cyclical nature of existence, where the end of one era leads to the beginning of another. This mythological theme is reflected in other ancient cultures, such as the biblical flood narrative of Noah’s Ark, highlighting a shared human fascination with the idea of divine intervention in shaping history. This also gives insight that other branches of humanity survived the Great Flood. Not many pockets, but some did. There was not much left. Pockets of survivors here/there. The Annunaki began to help humanity rebuild, but in a limited way. Showing humans some science but leaving much of it in the dark. We turn the light switch on, but don’t know why it works. Just that it works and we have some idea how to fix the switch when it breaks, but we cannot literally build a new one as they did. Just our badly back-engineered knowledge of the thing. This seems even more prevalent today.

The Fascination with the Annunaki

We question our understanding of the past and explore the possibilities of what lies beyond our world, our understanding. The Annunaki’s legacy is not confined to academic study or historical research. They continue to inspire a wide range of creative works, from books and documentaries to podcasts and films. Some intended to be works of fiction while others try to paint the picture as this really did happen in our distant past. This ongoing fascination reflects a deep-seated human desire to connect with the mysteries of existence and to explore the unknown.

Embracing the Enigma - “You Are Bugs…”

The Annunaki’s story, rooted in the myths of ancient Mesopotamia and reimagined through modern theories, offers a rich and multifaceted narrative that invites us to explore the boundaries of our knowledge and imagination. As we delve into the history and speculation surrounding the Annunaki, we confront not only ancient mysteries, but also the limits of our perception and the possibilities of what might lie beyond. Whether viewed as gods, aliens, or metaphorical figures, the Annunaki challenge us to embrace the enigma of our origins and to seek out the answers to the great questions of existence. The Annunaki’s journey from ancient Mesopotamian myths to contemporary theories highlights the enduring allure of these celestial beings. Their story encourages us to explore the unknown and to question the narratives that shape our understanding of the universe. The Annunaki stand as a testament to the power of myth and the endless possibilities of the human imagination.

If beings like the Greys, Anunnaki, and Igigi are real, the implications for mankind could be deeply terrifying and unsettling. The existence of such advanced entities would create a profound power imbalance, leaving humanity vulnerable to their superior technology and intellect, which might challenge our beliefs about our own significance and place in the universe. The fear of being controlled or manipulated by these beings could evoke a sense of existential dread, as we might question the very meaning of our existence, existence in general, and the potential for extinction or enslavement of our species. Historically, the idea that these beings might have shaped our civilizations and beliefs from the shadows would undermine our understanding of our past and cast doubt on our sense of free will and autonomy as the dominant species on this planet. The terror of the unknown—where their intentions are indecipherable and could involve invasive experiments or even global invasions—would stir fears of being watched, violated, or destroyed. This fear would also have a global psychological impact, leading to anxiety, paranoia, and a crisis of identity as we confront the reality that we might be insignificant in the grand cosmic scheme. “You are bugs…” ~Liu Cixin, The Three-Body Problem. Philosophically, the existence of such beings would provoke deep questions about our own morality of our collective behavior in the past 3,000 years, the morality of their actions, and our own role in the universe. Challenging our beliefs about existence and ethics. This realization of the Greys, Anunnaki, and Igigi as real entities would force us to face an unsettling truth about our vulnerability, the reliability of our historical narratives, the very nature of our existence in the cosmos, and that God exists and created us in its own image. Perhaps to just hear our screams. Even God cannot hear bugs scream, in space.

All the information here was derived from the main outline below. If anyone wanted a very short telling of this tale via a basic timescale outline, there is one below.

"I felt an absolutely indescribable sense of menace. It was hell on earth to be there, and yet I couldn't move, couldn't cry out, couldn't get away. I'd lay as still as death, suffering inner agonies." ~Whitley Strieber, “Communion” 2/25/1987

The Myth of the Annunaki by David-Angelo Mineo 7/1/2024 3,336 Words

Outline: Ancient Timeline of Earth

The Annunaki Myth, Religious Myths, and Modern Innovations

Ancient Timeline of Earth and Mankind: The Annunaki

Pre-Earth Events

Primordial Era

The Enuma Elish describes the creation of the world starting with the primordial gods Apsu (freshwater) and Tiamat (salt water). Their mingling leads to the birth of younger gods, including Ea (Enki), who defeats Apsu and later Tiamat, establishing order from chaos.

Arrival of the Annunaki

Circa 450,000 years ago

According to Sitchin’s "The 12th Planet," advanced beings called the Annunaki arrive on Earth from their home planet, Nibiru. Nibiru’s elongated orbit brings it into the inner solar system approximately every 3,600 years.

Establishment of Eridu

Circa 445,000 years ago

The Annunaki establish Eridu, the first city on Earth, in southern Mesopotamia. Enki, the god of wisdom, water, and creation, oversees the development of Eridu as a base for mining operations.

Gold Mining and the Creation of Man

Circa 300,000 years ago

The Annunaki face labor shortages and hardships in their gold mining operations. Enki and the goddess Ninhursag create Homo sapiens by genetically modifying Homo erectus with Annunaki DNA. The first humans, known as "Lulu," are created to serve as workers for the Annunaki.

The Deluge (Great Flood)

Circa 13,000 years ago

The Epic of Gilgamesh and Sitchin’s writings describe a great deluge caused by the gravitational pull of Nibiru passing near Earth. Enki warns Ziusudra (Utnapishtim and/or Noah) to build a large boat to save himself, his family, and various species from the flood.

Post-Flood Reconstruction

Post-Flood Era (circa 10,000 BCE)

The Annunaki help humanity rebuild civilization after the flood. Agriculture, animal husbandry, and advanced knowledge are shared with humans. Key cities such as Ur, Uruk, and Nippur are established and flourish.

Rise of City-States and Kingship

Circa 3,000 BCE

Sumerian city-states rise to prominence, each with a patron god or goddess. Kingship is seen as a divine institution bestowed by the Annunaki. Inanna (Ishtar) becomes a significant deity, known for her power, beauty, and political influence.

The Epic of Gilgamesh

Circa 2,600 BCE

The historical King Gilgamesh of Uruk embarks on a quest for immortality. The epic narrative includes interactions with gods and mythical creatures, reflecting the close relationship between humans and the divine.

Decline of Annunaki Influence

Circa 1,000 BCE and onward

The direct influence of the Annunaki wanes as human civilizations grow more independent. The memory of the Annunaki becomes mythologized in various cultures, giving rise to numerous legends and religious narratives.

Comprehensive Timeline: Annunaki Myth, Christian Bible, and Western Civilization

Ancient Mythological and Religious Accounts

Early Sumerian Civilization (c. 4500-1900 BCE)

The Annunaki are a group of deities linked to the Sumerians, Akkadians, Assyrians, and Babylonians. They are depicted as judges of the underworld and creators of mankind. Primary sources include Sumerian texts such as the Enuma Elish and the Epic of Gilgamesh.

Ancient Mesopotamian Mythology (c. 1900-539 BCE)

The Annunaki myth expands in Babylonian and Assyrian mythology. The Annunaki are positioned below higher gods like Anu, Enlil, and Ea/Enki.

Egyptian Civilization

Old Kingdom of Egypt (c. 2686-2181 BCE)

Egyptian mythology includes gods like Ra, Osiris, and Isis. Creation myths often involve gods emerging from primordial chaos. Construction of pyramids, including the Great Pyramid of Giza.

New Kingdom of Egypt (c. 1550-1070 BCE)

Heightened worship of gods like Amun-Ra. Pharaohs are considered divine or semi-divine. Cultural achievements include the expansion of the empire, construction of temples, and advancements in art and literature.

Greek Civilization

Classical Greece (c. 508-323 BCE)

Greek mythology features gods like Zeus, Hera, and Athena. Creation myths include the Titans and Olympians. Contributions by Socrates, Plato, Aristotle lead to the development of early scientific thought.

Hellenistic Period (c. 323-31 BCE)

Greek culture spreads throughout the Mediterranean and Near East following the conquests of Alexander the Great. Syncretism leads to the blending of Greek and local deities and myths.

Roman Civilization

Roman Republic (c. 509-27 BCE)

Roman gods parallel Greek deities, e.g., Jupiter (Zeus), Venus (Aphrodite). Political developments include the establishment of the Republic and the codification of Roman law.

Roman Empire (27 BCE-476 CE)

Emergence and spread of Christianity, including the crucifixion of Jesus Christ (c. 30 CE). Cultural achievements include extensive road networks, architectural marvels like the Colosseum, and legal advancements.

Development of Europe

Early Middle Ages (c. 476-1000 CE)

Christianity becomes dominant in Europe. Monasticism and the establishment of the papacy. Development of feudalism and manorialism.

High and Late Middle Ages (c. 1000-1500 CE)

The Crusades: Religious wars aimed at reclaiming the Holy Land. Cultural revival includes Gothic architecture, universities, and scholasticism.

Renaissance (c. 1300-1600 CE)

Rebirth of classical knowledge: Revival of Greek and Roman knowledge. Advancements in art, science, and exploration. Humanism focuses on human potential and achievements.

Formation of Modern Western Culture

Reformation and Enlightenment (c. 1500-1800 CE)

Martin Luther’s 95 Theses (1517) sparks the Protestant Reformation. Scientific developments by Copernicus, Galileo, and Newton. The Enlightenment emphasizes reason, individualism, and skepticism of authority.

Formation of England and Modern Europe (c. 800-1800 CE)

Formation of early English kingdoms. The Norman Conquest (1066) establishes Norman rule. The development of modern nation-states in Europe.

Industrial Revolution and Modern Era (c. 1800-Present)

Technological advancements, urbanization, and economic changes. Influence of Western culture globally, driven by economic, technological, and cultural factors. Continued advancements in science and technology. Widespread debunking of pseudo-scientific theories like Sitchin’s Annunaki hypothesis.

Integration of Annunaki Myth and Christian Bible

Modern Interpretations and Pseudo-scientific Theories (1976 onwards)

Zecharia Sitchin proposes that the Annunaki are extraterrestrial beings from the planet Nibiru, influencing early human history. Sitchin’s theories are widely discredited by scholars and scientists.

Cultural Impact and Ongoing Beliefs (2000s-Present)

Annunaki and Nibiru myths influence books, movies, and online discussions. Christian themes remain prevalent in Western culture, influencing literature, art, and media. Despite scientific debunking, belief in Sitchin’s theories persists in some communities.

[johnnys-demons]

planet X concept

(btw this DOES NOT count as solar balls, this is kind of like my own kind of thing and ITS WAYY different from that)

[bowban306]

In life, you will realize there is a role for everyone to meet, sum will test you, sum will use you, sum will love you, and sum will teach you

But the ones who are truly important are the ones who bring out the best in you, they are the rare energies who remind you why it's worth it

Infuse your life with action, don't wait for it to happen, make it happen, make your own future, make your own want, make your own love [EM]

And whatever your gnosis, honour your creator, not by passively waiting for grace to come down from upon high, but by doing what you can to make grace happen, yourself, right now, right down here on Earth - we don't have long now, the reSet button was already pressed in 2012 [2021]