Thor - God of Thunder (Son of Saturn) & the Worlds Within Worlds

"Some believe that before the universe, there was nothing. They're wrong. There was darkness... and it has survived.” - Anthony Hopkins (Odin)

In keeping with the ‘time of year’ and the Celtic period of ‘darkness' (from Samhain through to Saturnalia) I went to see the latest Marvel movie Thor - The Dark World. Directed by Alan Taylor (well known for films such as Game of Thrones and The Sopranos), I wasn't disappointed with the narrative and the skill of taking comic characters through to the 'big screen' and as we shall see, much of the 'narratives' from the ‘world of comics’ were inspired by the ancient myths and legends of ‘otherworlds’. The ‘Dark World’ in symbolic terms, is the world that is being forged by ‘unseen’ forces that ‘return to claim’ what they believe to be rightfully theirs’. In our world, we have similar concepts of the ‘unseen’ (to us) that also want to bring our world back to darkness. I am going to ‘weave in and out of subjects here and it’s another 'very long read' that looks at the symbolism and myths relating to this movie.

The world of Thor takes us into Norse mythology and the legends of the 'nine worlds’ or realms, ruled over by a Parthenon of deities, more on that later. Of course in this blog I haven't got the scope to go into these connections in great detail, but suffice to say that the main characters, Thor, Odin and Loki (and others) can also be found by other names in the universal legends that tell of personified 'planets battling it out' (thunderbolts) across our solar system.

Giants, elves, humans and 'the gods' are all served up across parallel realities and from the point of the view of the artist, the fact that myths ‘exist’, means in one form or another, these personified stories were once a reality.

 Odin - The One-Eyed Father God of War and Peace
According to Scandinavian myth, Odin was the Norse father god, or the 'all father' god of Asgard and the nine realms. He is on a par with the god Yahweh and can be connected to the planet (or dwarf star) Saturn, not least though his 'one eye' (all-seeing eye) symbolism that pervades the modern media, entertainment industries to the point of 'stating the obvious'. (see below). 

In Saxon myth Odin is also Wodan or Wotan and this figure is clearly associated with the priesthoods of Saturn, as I have covered in several other articles.

Saturn's (Odin's) one eye in its many forms.The third image is at 'underground station in New York near 'Ground Zero'

Odin is also a principal member of the Üsir (Aesir), the Norse pantheon and is associated with war, battle, victory and death, but also wisdom, shamanism, magic, poetry, prophecy, and the hunt. Sounds pretty much like our bloodline rulers on Earth, or Odin’s minions, the orders and priesthoods (men in beards and frocks) if you like? The Macroprospus symbol below right is not only one that embodies the father God (Odin) symbol,  it is also the ‘Arika’, or the symbol for the divine ‘emanation’ sometimes shown as the Kabala or Sephirah, which I’ll come to back to later.

 Odin the Grey, the white, the father God, the Ancient of Days

Vikings, War and Glorifying the Dead
The Üsir-Vanir war, recorded in Norse myth was said to be a conflict between the Üsir (Aesir) and the Vanir, two groups of rival gods that ultimately resulted in the unification of the ‘two tribes’ into a single tribe of gods – or the Old Order of gods, eventually headed by Odin. Odin of course is the Merlin, Gandalf figure and the many references to the grey or white wizard figure found in other legends and stories, too many to go into here. Primarily he is Saturn, Saint Nicholas (Father Christmas) ‘Father Chronos’ and Wodan. Odin is both dark and light, he is the ‘inspired one’ that colludes with the darkness to bring both change and knowledge to the world.

According to Norse legends the souls of women warriors, women whom Odin favoured became the Valkyries, who gathered the souls of warriors fallen in battle (also known as the Einherjar), as these would be needed to fight for Odin in the final battle of of all battles, Ragnarok - the Nordic name for Armageddon of sorts. The souls of the warriors were said to be taken to Valhalla (the Viking heaven) with its vast hall of gold, hung around with golden shields, and spears and coats of mail.  The German Nazi occult elite were obsessed with 'Nordic Mythology' and so is the Vatican of course (see St Peter), and the Church in general, because all of these institutions and empires past and present are symbols of the god of life and death. Odin is also the 'christ-like god' who hangs upside down in the tree of life, often with a raven on each shoulder. The ravens are called Huggin and Munnin (supernatural beings or creature that accompany a person) and both are protectors and thieves. In Norse myth they are meant to be symbols of ‘memory’ and ‘thought’. 

Odin, St Peter and Christ on the 'tree'.

Odin as the old wanderer, father time (Saturn) and like Christ on the cross, on the hill of Golgotha (the place of the skull), he too is flanked by two thieves, Dismas and Gestas, (two ravens) representing the symbolic death of the mind. Ravens are also ‘revered’ by the Saturn-like 'Yeoman Beef Eaters at the 930-year-old royal fortress - the Tower of London. The ‘Tower’ of course is a huge symbol that relates to the ‘Tower’ in the Tarot (also twin tower symbolism), and we had the Odinstårnet in Denmark (The Odin Tower), the second largest tower in Europe built in 1934-1935 but blown up on the 14 December in 1944 by a group of Danish Nazi saboteurs called the Peter group. Odin, Towers, Nazis and December, it’s all about the ‘energy’ of Saturn.

Odin as Saturn with his Ravens. The Yeoman Wardens with their Saturn uniform and the Saturn/Raven emblem

Thor - The Son of the Father
In Norse mythology, Thor is a hammer-wielding god associated with thunder, lightning, storms, oak trees, strength, the protection of mankind, and also hallowing, healing and fertility. The cognate deity in wider Germanic mythology and paganism was known in Old English as ûunor and in Old High German as Donar stemming from a common Germanic ûunraz meaning ‘thunder’. Thor is a Jupiter/Zeus figure that would both continue the order of the gods after his father Odin (Saturn) and rebel against his father. He is also Baal, or Bel, referred to in the Old Testament. Thor is a ‘star/sun god’ and was worshipped in Egypt, (and in Israel), as Moloch the star Remphan (Chiun) to a lesser degree.

 Born on the 25th December, and symbolic of the ‘new sun/son’, Thor is the classic mythic hero that 'saves the day', the hero myth from a long line of saviour gods. Thor is said to go fishing for Vritra a 'great serpent' (above left), which lies at the source of major rivers, seas and power of the oceans and virtually every culture has preserved memory of a "thundergod," a towering and tumultuous figure whose ‘modus operandi’ is the generation of lightning and the hurling of death-dealing thunderbolts from the sky.

Thunderbolts of the Gods
The authors and researchers David Talbot and Wallace Thornhill put forward compelling evidence in their books ‘Electric Universe’ and Thunderbolts of the Gods to suggest that the many gods, heroes and myths relate to the true ‘electrical nature of our Universe’. They say, “The transitional states of plasma discharge answer directly to the mythical metamorphosis or “shape-shifting” of archaic gods and monsters.” What we call electro magnetic ‘plasma’ expressed in its many forms, as seen from the Earth by ancient civilisations, would have provided our ancestors with the vivid imagery and experiences to affect their reality.

 According to these researchers, Plasma has reshaped our Universe and even within the Earth’s Ionosphere, we have plasma ‘earthly phenomena’ called ‘elves sprites’ and ‘blue jets’ (below) that are part of the ‘force’ that holds our solar system in place. Lightning of course is a discharge when too much electricity builds up in the atmosphere, which then triggers electrical connections and responses at higher altitudes known as these elves, sprites, gnomes and jets as the electrical impact of the lightning flash plays out into the cosmos. It’s not too much of a leap of the imagination to picture forces aligning to create effects in a parallel world, as this is shown several times in the movie Thor - The Dark World.

Blue jets and the Northern Lights – Thor’s hammer at work

 Plasma according to Talbot and Thornhill is a thousand trillion, trillion, trillion times’ more powerful than gravity and it is electricity and electromagnetism that maintain the planets in their orbits around the Sun. It’s a distortion in electromagnetic forces that causes the planets to go walkabout. With that understanding, the same forces are capable of aiding in the configuration of different worlds, and in the movie Thor – The Dark World we see how a plasma-like substance called the ‘Aether’, can be used to both create and destroy worlds.

Dr Jane Lewis played by Natalie Portman finds the Aether a she accidentally steps into a porthole in Greenwich London. Is that the Black Swan you’re looking for darling?

Gods doing battle across several worlds, impacting on different realities can be seen as Thornhill's view of a ‘polar configuration’, which the authors say consisted of a ‘number of planets’ in our solar system, ‘our nine realms’, moving together in a ‘plasma sheath’.

Left) CME Blast & Plasma Sheaf. Right) Rock art examples of the “squatter man” from around the world illustrate one of the many global plasma pinch patterns. Samples gathered by Anthony Peratt ©.

 The plasma sheath also acts to buffer the planets against catastrophic collision, see the CME blast photo above. A battle of the planets, distinguishing characteristic of plasmas everywhere is the generation of so-called Bierkeland currents (named after Kristian Bierkeland who discovered the phenomenon in 1905).
The global ‘squatter man’ phenomena the work of research scientist Anthony L.Peratt, on high energy Plasma Discharges, is another version of plasma activity as seen by native people all over the Earth at the time of a huge configuration in pre-history. Let’s say some saw ‘Thor’s lightening bolts’ while out gathering and hunting. 

My vision of Jupiter and Saturn clashing creating the Thunderbolts of the Gods. © Neil Hague 2012

Thor from another point of perception is an 'electromagnetic' ‘sun’ god, defying his father Odin, or Jupiter challenging his father Kronos, (Saturn), in a very different solar system.

As the Authors write in Thunderbolts of the Gods, “The archetypes that once dominated human consciousness are, in fact, out of this world. So long as you believe that the ancient sky looked like our sky today, not a single mythic theme will make sense.”

Thor, Jupiter, Zeus as the ‘Thunderbird’
Thor's hammer is a symbol of Saturn's (Odin’s) inheritance passed on to the next generation, from father to son. It is the Mjölnir depicted in Norse mythology as one of the most fearsome weapons, capable of leveling mountains.
 The connection to the 'Thunderbird' and 'thunder-beings' in Native American belief, (the latter of which could transform into tricksters) and the Eagle in Greek classical myth, has one of several forms adopted by Zeus. After the Titan Wars in Greek myth, the eagle was later sent by Zeus to carry the handsome youth Ganymede up to heaven to become the cupbearer of the gods. In the myth Ganymede, (young boy) and symbol of the Age of Aquarius, is actually abducted by Zeus.

 Despite the connections to the Precession of the Equinoxes, the eagle here is an obvious connection to the ruling elite on Earth (the gods) and therefore I wasn’t surprised to find a statue of Ganymede ‘putting up a fight’ with the eagle, before his ‘abduction’ outside the crypt on the land of the Duke of Westminster (one of the wealthiest landowners in the UK).

Eagle and child in its symbolic form relates to the power of the Order of gods over the age (children) of Aquarius.

 Thor's Hammer

Thor’s ‘hammer’ is also a symbol that relates to the ‘old order of gods, from Vulcan to the race of Titans and handed down to Thor by his father Odin (Saturn). We see the connection here to the symbol adopted by Communist Russia, a symbol for the ‘might of’ both Father and Son – the rule of law. The Hammer in myth was the tool of the ‘black smith’ and the magic of working ‘white-hot iron’. Its use as a ‘tool’ is also connected to the Titans, Hephaestos (Vulcan) and attributes can be seen in Jehovah, in the Jeremiah, when it is written, ‘and like a hammer that breaketh the rocks in pieces’. 

 

The fall of the hammer (Thor’s hammer) is the same hammer used in courts by the minions of Odin – the white haired Saturn –like judge. The SS symbol was based upon ‘two lightning bolts’, representing lightning bolts from Thor's hammer and the Thule Society (also known as the German Brotherhood of Death Society, part of the international Brotherhood of Death societies) prior to the Nazi’s persecution of Freemasons and Jews, used Nordic variations of lightning bolts and the blade (sickle) associated with Saturn. The Nazi Labor day medal from 1934 (bottom right) has almost the full set!

Thor is symbolically the protagonist of the ‘new order of gods’ and that is why these symbols touched on here are used still today. The Roman eagle standard is the American eagle, or even the German Nazi eagle. They are the icons of the ‘new order of gods’, the public face of Odin’s (Saturn’s) occult rule over Midgard (earth).

Suns, Serpents and Giants
In myth the world over there are numerous legends associated with the ‘race of giants’, too many to go into here. But in Celtic myth, giants called the Formorians were said to have fought and were defeated by the Tuatha de Danaan of Ancient Ireland. In Greek myth, a race of earthbound giants also fight with Zeus (Thor) and a common theme of the battle between gods and giants can be found in numerous works of art. In the movie Thor – The Dark World, Thor battles giants from several worlds form within the nine realms and comes to Earth several times, as that super god, to do such battles. See my other article The Avengers Assemble.

The Many Battles and War's of Thor
The battle of Moytura in Celtic lore was a struggle between the old order of gods and the Blar or Balor, the God of Light, and a new solar god, Lug-Samil-Danach. Scenes of the biblical final judgement and the colourful Vedas of ancient India are amongst many other art and texts that depict battles between giants, demons, including serpents and sun gods like Indara, Marduk, Miok (George) Zeus or Thor. Again we are looking at the power of electromagnetic forces shaping our world.

 Similar battle scenes can be found on temple murals at Cacaxit in Mexico, and in the battles between Gilgamesh and Humbaba of Sumerian legend. Humbaba was said to be a forest giant with fiery breath, terrible jaws and eyes that blazed with the power of death. How lovely? The 12th Century Edda, through the translations of Lawrence Augustine Waddell in his book the British Edda, (Christian Book Club, California 1929), also depicts battles between different gods, heroes and villains, dark and light forces.

The Edda tells how the son of Indara, (or Thor) in Norse-Germanic legend (whose name was also Miok or Michael) who won victory over the son of the Dragon Queen Hera/El. In Egypt another name for the Sun god Ra was George who also won victory over El the Matriarch, often described as the ‘War of the Gods’ in Sumerian accounts.  It’s the same symbolism by different names, and so is 'all war' on our planet. The gods are obsessed with war. 

In the Norse myths it seems that many battles took place in the sky and underground between different gods (possibly alien races), all of which formed the symbolic tussle between Heaven and Hell, good versus evil, the Jedi’s against the evil emperor and many other pairs of opposing forces down the ages. The movie illustrates well the parallel realities, peopled by different ‘aspects’ of the ‘world tree’ as they affect each others' existence – they are all one.

The World Tree- Yggdrasil

The battles between gods and giants at Ragnarok in Norse Mythology are also part of the same theme of an old order of heroes fighting a new bunch of deities. Their battles are compared to the cataclysmic upheavals that shook the Earth on both a physical and spiritual level, events that could happen once again at this time? So, in Viking creation myths we are told that from the body of the Frost Giant Ymir the gods created nine worlds (dimensions) and a ‘vortex’, which supported what is termed the World Tree. This is the same tree that Odin does his 'hanged man' pose and the cross that St Peter and Christ were hung on in symbolic terms. The Yggdrasil in this instance can be likened to the web of life and the matrix of worlds. The symbol of ‘the X’ (male Chromesone) along with eve's ‘Y’ gene mapped out on the tree (below right), with Midgard (Human Earth reality) in the centre, is also a subtle connection to the Tree of Life. The Tree was said to contain the records of all life force, archetypes, past, present and future worlds. It is also the ‘house of many mansions’ alluded to in Biblical texts and the ‘nine worlds’ (nine dimensions) from Asgard to Midgard (middle Earth, through to Hell, all of which are connected to each other. Dante’s nine realms of Hell in his epic poem, The Divine Comedy was inspired by the Norse beliefs in the nine realms.

Ancient Stories of the House of Many Dimensions
In the movie Thor – The Dark World we are shown parallel worlds some beautiful and others darker, with each dimension or ‘frequency range’ linked to higher and lower frequencies, through the ‘World Tree’ I mentioned above. The ancient Sanskrit Vedas including other numerous native oral traditions also suggest that our world exists within a multilevel, time-space reality, of which there are numerous dimensions. Our ancestors understood variations of this knowledge as it inspired their art, science and communities, creating the very foundations for people to integrate the mysteries within their lives. The Ojibwa Indians of North America, for example, depicted this holographic multi-layered world made up of animal, plant and star consciousness. So did the Egyptians, who called
this knowledge the Grand Ennead, which was related to the ‘nine’ principles of creation - the Neters. 

Egyptian, Native American and Scandinavian versions of the Nine Realms (Sephirah)

Just as Tiaowo, in American Indian Hopi belief, created Sotuknang, (who was said to have created Spider Woman), Tum of Egyptian belief, was said to have created Shu and Tefnut, who then created Geb and Nut (Noot). The personification of electromagnetic forces A similar concept of a spiraling house of different dimensions was understood by the ancient Greeks and the Pythagorean mystery school called the Tetractys. All of which was probably part of a global esoteric teaching that survived into a post Atlantean world? All these versions of the same symbolic knowledge, including similar themes in other civilisations, try to explain the concept of ‘unity expanding out of oneness’, manifesting has different worlds (planets),while returning back to the source. On a much more simple level the process of breathing in and out carries the same understanding.
The alignment of the nine worlds in the movie Thor is also symbolic of the unification or configuration that holds great power for those that wish to use it. 

Eight, Nine and Ten Dimensions...
The number nine seems to be a significant number that can be found in much mythology and is said to consist of a ‘trinity of trinities’. In Scandinavian mythology, as we have already seen, there were said to be Nine Earths (worlds). Hel was the ruler of the Ninth (the underworld) and it is said that Odin’s ring dropped ‘eight other rings’ every ‘ninth night’, creating the realms. This is also Jacob’s ladder or spiral stair case that connects all nine worlds found in much alchemical texts, art and myth. It is also the path of the initiate found in the Kabala and Masonic writings.

Fire Gods, such as Vulcan, when thrown out of Olympus, were also said to spend ‘nine days falling’ and Asgard is another version of Olympus.
All these interpretations of ‘nine’ seem to relate to ancient gods, archetypal forces and the knowledge of multilevel worlds (and the Earth falling down these frequencies) or dimensions. The same knowledge can be found in the work of the 13th Century Italian poet, writer, Knights Templar, Dante Alighieri (1265-1321) though his epic Paradise Lost  (Paradiso). In it he also describes ‘nine circles’ of Paradise and the journey through the nine levels of Hell. In William Blake’s image, The Vision of the Deity, from Whom Proceed the Nine Spheres, who also illustrated Dante’s text in the 18th Century, we are shown nine circles from the ‘divine’ to the Earth, with the usual personification of the different planets. A subject I am personally working on (see the end of this blog).

In Navajo healing ceremonies, which include singing and painting, one chant in particular called the Night Chant, was used to heal diseases of the head (mind) was experienced over ‘nine days’. When we consider early Ptolemaic systems of astronomy it was said that nine spheres created the structure of time and space (see above) and the poet Milton in his Arcades, also speaks of: “The celestial Sirens harmony that sat upon the nine enfolded spheres”. In Paradise Lost, Milton says of the fallen angels: “Nine days they fell”. Within much art and poetry one can find various references to the same understanding of how unity spirals out of oneness, projecting nine (enfolded) spheres or dimensions. In William Blake’s painting Jacob’s Dream (1805) we see once again the different circular worlds existing on a spiral staircase (vortex), with people and otherworldly beings moving towards oneness.

From my own work I feel that the dimensions that we interact with here on Earth (the centre of that great tree) can also be numbered one to nine and nine is a ‘source number’ in what is understood as numerology. However, it seems that both scientists and earlier advanced civilisations would agree that there has to be ‘ten dimensions’ to complete and commence the next journey through our ‘spiritual evolution’. Source numbers are where all other numbers originate, just as it takes nine months for a human child to be born into the physical world. Within ancient numerology, as well as mythology, certain numbers and their ‘energy’ determines different characteristics that intricately link these celestial spheres (dimensions) with different life forms, shapes, symbols, colours, sound and knowledge across our universe. When we access our ‘ancient eyes’ (inner vision) we start to see, feel and sense these different dimensions within us. It could be described as the start of a journey towards our natural state, that multidimensional being we once were, before the infamous fall. The ancient Egyptians expressed similar knowledge through numerology, for evolving, creating and becoming a whole or balanced individual. One of their ancient texts taken from Hermopolis reads:

”I am one, who becomes two, who becomes four, who becomes eight and then I am one again.”

The Gate Keeper between the Worlds
In Norse mythology, Heimdall (Heimdallr) is a god who possesses the resounding horn Gjallarhorn, owns the golden-maned horse and whose name is said to mean 'the one who illuminates the world'. Heimdall is the ‘gate keeper’ of the nine realms and with his ability to ‘see all-that-is’, he is the prime guard, the watcher and protector of Asgard. 

 Heimdall sits on the ‘edge of heaven’ (great song by Wham in the 80’s) to guard the Bifröst bridge from the berg jötnar (the giants/titans) that are in symbolic terms the trolls under the bridge in many fairy tales. Heimdall is also Janus the god who can see in both directions and represented new beginnings.

It is said that Heimdall above (played by Idris Elba), requires less sleep than a bird, can see at night just as well as if it were day, and for over a hundred leagues. He ‘sees beyond the ‘constructs’ that separate the worlds, beyond night and day. On the head of Heimdall was said to sit a cockerel (or red rooster) called Gullinkambi, who was said to warn the ‘nine realms’ of when Ragnarok (end times) had begun. The rooster, the all-seeing-eye and the bridge (rainbow) are of course symbols used in freemasonry, initiation and occult writings. 

Heimdall in his different guises.

The Bifröst bridge in Norse myth, the place where Heimdallr stands guarding the realms, is the symbol for the ‘meeting of different worlds, the path between realities and of course it is the place of danger, where the ‘unseen’ can pass from one world into the next. Such symbolism is portrayed well in the film Thor, when the dark elves pass into Asgard unnoticed in their attempt to retrieve the Aether and Heimdallr leaps onto one of their crafts as it tries to pass beyond his sight.

 The scientific understanding that many worlds (existing simultaneously) and that intelligence, “beyond our sight”, have ‘constructed’ worlds or simulations that meet, can be found in the ideas of  Nick Bostrom, the Swedish Philosopher and author of 200 publications. Bostrom is often the ‘media personality’ for transhumanism-related topics such as ‘cloning’, artificial intelligence, ‘super-intelligence’, ‘mind uploading’, cryonics, nanotechnology, and the simulation argument (Theory). I think he’s onto something ‘old Nick’. His Simulation theory supposes that because of the overwhelming likelihood of technological singularities occurring in the universe, it is quite likely that advanced civilizations‚ either us in the future, or aliens in a distant galaxy‚ have created or will create simulations (worlds). Since the number of these simulations would number in the billions, Bostrom submits that it is actually quite likely we are living in some sort of a computer simulation. Yep, he’s onto it! When we look at the likes of Norse mythology, and it’s nine realms and the many other legends in other cultures, and with science to give it gravitas, maybe the Simulation Theory has some validity. The concept of course crops up as a familiar muse for science fiction audiences, explored in films like The Matrix, The Thirteenth Floor, Dark City, Avatar and of course we have marvel stories like Thor that hint at this too. In all myths, it is said that it is the ‘trickster’ that lives on the threshold between these ‘simulations’, the different worlds. If the ‘trickster controls the flow of information between worlds then you know it won’t be true!

Loki - the trickster ‘son of God’
Loki in Norse mythology is a god or jötnar born of the race of giants. He is the ultimate trickster, the joker god that can use ‘illusions’ to deceive, and he is a 'shape-shifter’‚ with the power of being in several places at one time. Loki uses the holographic nature of reality to deceive and manipulate those that are not fully aware or awake!

The photo (pose) that almost every politician would love to have.

In Norse myth it is said that the first living beings were giants that dwelled in a place called Niflhemir and the connection to the Biblical Nefilim is an obvious one here. Loki was said to be a descendant of the fallen giants (the jötnar or Nefilim) and the one they called Ymir. The general themes of the giants and the legends of the Frost Giants in Norse myth could relate symbolically to ‘electromagnetic forces’ manifest as ice and the (crystalline) ice rings of Saturn. Is there also a link to the powers that possibly created the rings - the Archons? See my other articles for the more information.

 Ymir was said to be born out of the joining of these two extreme forces from either world in the ‘great void’, the beginning of the nine worlds as such. Contained within Snorri Sturluson's  Gylfaginning (the creation and destruction of the world of the Norse gods,) Ymir's creation is recounted:

'Just as from Niflheim there arose coldness and all things grim, so what was facing close to Muspell was hot and bright, but Ginnungagap was as mild as a windless sky. And when the rime and the blowing of the warmth met so that it thawed and dripped, there was a quickening from these flowing drops due to the power of the source of the heat, and it became the form of a man, and he was given the name Ymir.'

Loki is a also a god of fire, the bringer of chaos and mischief who was said to have made a pact with the Frost Giants, who opposed Asgard and the balance of the Universe (the great tree). Loki, like the Haokah, is an ‘unnatural god’ sometimes depicted as a ‘clown’ in several Native American tribes. The Haokah are also ‘thunder beings’ according to the Lakota Sioux and they were ‘tricksters’ who were able to ‘possess’ humans. Another trickster was the Coyote or Fox (Reynard) and like Loki he too was able to appear as an anthropomorphic animal (move in between realities) and use fire. A ‘fire fox’ is another symbol for the ‘trickster’… Fox TV, Fox News, etc, the Fire Fox logo says it all in one image!

Loki is also found in the Flemish revolutionary, ‘once a peasant’, turned leader and comedian named Tijl (below left), who it is said, that when the people eventually rebelled against their overlords, became their revolutionary leader. Where's Russell Brand when you need him eh? Acting’ and ‘playing the role’ as usual.

Loki and Hell

 In Norse myth and legend, Loki is the father of Hel (where the word Hell is derived) and the wolf Fenrir (werewolves anyone?) along with the world serpent Jrmungandr  (a titan that threatens to swallow to Earth). When the Aesir (Old gods) were told that these three siblings were born, in the land of the Jotuns (Giants), they knew this would bring great evil to the world. Not just because of their mother’s origin (Hell), but also their father Loki. It is said that Odin decided that a few of the Aesir should go and get these three children. When they were brought to Asgard, Odin threw the Jrmungandr serpent into the deep sea. And Jrmungandr then became the ‘Midgard serpent’ (Earth Serpent) that grew so much that is lies in the middle of the world’s ocean’s biting its own tail (see below). Hel, he threw down into Niflheim (the Fall), and gave her the power to create nine worlds (rings) – the power of thought over humanity. Fenrir wolf was kept in Asgard according to the legends. I think we’ll see Fenrir wolf in another movie eh? Or was that in Harry Potter?

According to the myths Jrmungandr (Midgard Serpent) grew so large that he was able to surround the earth and grasp his own tail - the ouroboros . The ouroboros symbol is most certainly a symbol for the 'illusion' that holds humanity in the matrix and prevents our ‘true sight’ from seeing all other realities. The serpent wrapped around Midgard, like the rainbow serpent in Aboriginal dreamtime myth, is the same symbol that speaks of the limits of perception.

The ouroboros is also the ‘ring-not-pass’ in Gnostic writings, a place that humanity had to ‘pass through’ to leave this illusion and go into the place beyond ‘death’ (Above left). It was also considered the symbol of the limitation in our spiritual, intellectual, or psychological power (our consciousness) - a place of illusion that we as humans must move beyond.

See David Icke's new book The Perception Deception out this November.

The Dark Elves and the Aether
In comic book land the dark elves are said to hate the sun and lived in the ‘dark underground world’ of  Svartalfar (Svartalfheim), not dissimilar to future/past ‘dark worlds’ found in a many movies in recent years. The elves, according to myth, form the Nordic dualistic concept found in the 13th Century Edda, which is clearly alluded to in the movie. 

 Yet, the light Elves were said to be located in Heaven and fairer then the Sun. The dark elves were hideous and could be a great nuisance to the humans, being full of malice and hatred towards humanity. Sounds like a familiar theme?  Of course J.R.R Tolkien must have taken inspiration form the 13th century manuscripts locked in the vaults of Oxford University, with his rendition of Orcs and Elves coming from the same source in the epic The Lord of the Rings (old Saturn again eh)… 

Malekith the leader of the dark elves.

 The dark elves in Taylor's movie look remarkably like the vampires' Nosferatu and ‘the Master’ from the film Salem’s Lot. Christopher Eccelstone plays Malekith the leader of the dark elves (above) as he seeks out the ‘Aether’, so to bring the Universe back to ‘darkness’. Where’s the Time Lord when you need him?

The Dark Elves look like devils and other non-human creatures that can found on cathedrals and stately homes in Europe and beyond. Too many politicians seem to be acting like ‘dark elves’ when it comes to laws, taxes and the way ‘people’ are treated all over the world. The only difference between the movie and reality is that we don’t see the elves, well some do?

The story goes that eons before the union of the gods, Bor, the father of Odin, vanquished the Dark Elves who sought to return the universe to its ‘state’ before creation using a force called the Aether, mentioned earlier. Doing so Bor contains the Aether within a stone column. The stone column is very likely a reference in symbolic terms to the sealing of the titans in Tartarus in Greek mythology. Unbeknownst to Bor, Malekith, and his lieutenant Algrim and others escape into suspended animation, waiting to emerge, which they do in the movie.

Again we have themes of the ‘darkness’ and that of the ‘archons’ returning the world to their vibration, to their world. The dark elves live in a form of suspended animation, like an insect waiting to hatch, and in the movie they seek to use the plasma (the Aether) to reshape the nine realms.

According to folklore, many believed that ‘dark elves’ were also responsible for the nightmares and were often called ‘mares’. A mare would sit on a sleeping person‚ on the chest and whisper bad dreams to haunt the person. The Swiss painter Henry Fuseli, touched on such subjects in his works the Lapland Witches and The Nightmare in the 18th Century. And anyone who has had the experience of being unable to move, like an invisible weight on your chest, often lying down, will relate to this image? Dark forces are as real as those that are their opposite. Don’t let the light-workers fool you otherwise.

The elves (Mares) in Fuseli's The Nightmare

Of course we have the subtle connections to otherworldly entities such as the ‘reptilians’ here too. According to some accounts, the dark elves could not be exposed to sunlight if the sun’s rays reached them they would immediately turn into stones - Vampires again eh?

Halloween comes to Asgard and Earth permanently, if the dark elves have their way. Is that the latest costume by Lady Gaga?

True to the comic the 'dark elves’ arrive first in Asgard and then on Earth to bring about what ancient texts like the Edda refer to as Ragnarok, the apocalyptic end game, when Jrmungandr, Hel and the wolf Fenrir would eventually let loose to do battle with Thor. I’ve ruined the next movie now, oh dear? 

I was amazed to find the costumes of the dark elves in the movie remarkably similar to what I had seen in dreams and visions over the years, as a ‘black army’ that were led by creatures in masks such as theirs over what looked like a very different Earthly landscape. Other personal pointers in that dream (this article is not the place for it) now make me wonder if that time is almost upon us – remember just because we ‘can’t see it, doesn’t mean it’s not there.

The Dark elves arrive in Greenwich

The end battle in the movie involves the destruction of Greenwich Palace (symbolic of ‘time’) where Malekith will use the Aether at the exact moment as the Nine Realms' “converge” to return the universe to the dark-energy state.

Her Majesty’s Palace gets a face-lift as Malekith evokes the elements ‘satanic style’.

Demons, Jinn and the Kursed.

Malekith and his Elves are experts at conjuring up what the comic books refer to as the Surtur (a fire and stone demon) that transforms an Elf into a 'Kurse’ – a super strength (horned) elf. Based on the fire giant Surtr from Norse mythology, and adapted by writer Stan Lee and artist Jack Kirby, the Surtur first appeared in 'Journey into Mystery' (October 1963), and his character was once described as one of "The Ten Most Heinous Enemies of Thor”. The movie certainly shows this to be.

According to legend, the Kurse was originally the most powerful of the Dark Elves, and was known as ‘Algrim the Strong’. The comics say that Kurse possesses a number of superhuman attributes as a result of his natural ‘dark-elf-alchemy’, ‘physiology’ and ‘mystical augmentation’. Kurse also has the ability to sense and track his opponents over distances as great as continents and can see through illusions and disguises. His armour is a living, sentient, and ‘enchanted armour’ that allows Kurse to see everything around him. Sounds like the ‘intelligence networks’ of today, minus the elves and alchemy bit, hey don't rule it out though folks.

The Alignment of the Nine Realms

While looking for the Aether the Asgardians learn that a rare alignment of the Nine Realms is imminent, and at points where the Realms touch, (South London being one), portals are opened between different dimensions. When Heimdall tells Thor that Jane Foster (Portman) is no longer on Earth, Thor begins a search for her.

As the movie unfolds she awakens in the South London factory after hours in the ‘realm’ close to the Dark Elves world, and finds herself releasing powerful energy when a police officer on the scene touches her he is thrown in the air by this force. Sensing the force's unearthly nature, Thor brings Foster to Asgard (below), but its physicians cannot remove the Aether.

Odin realizes she is the Aether's vessel and this heralds a catastrophic prophecy of the Dark elves coming to take back watch they believe to be rightfully theirs’. Frigga‚ (Odin's wife and Thor's mother) takes Foster under her wing to protect her.

However, Malekith and his forces awakened by the Aether's release, turn Algrim into a Kursed and attack Asgard from within. Malekith and Algrim kill Frigga while searching for Foster but are attacked by Thor, forcing their retreat. Thor is ordered to remain and protect Asgard by Odin rather than pursue revenge. Following Frigga's funeral, Thor decides to take Foster from Asgard to lead Malekith away and he reluctantly teams with his brother ‘trickster’ Loki, who knows a secret portal into Malekith's world.

I think the Chinese poster had got the wrong idea about these two ‘teaming up’?

Malekith driven by hatred and by the desire to once again use the Aether's (and knowing that the Aether is within Jane Foster) he commences to pull the life force from her when she is handed over by Loki.

On the world of the Dark elves (Svartalfheim), after a hoax in which Loki appears to betray Thor and hand over Foster to Malekith, Loki ‘appears’ to sacrifice himself to keep the elves from retrieving the Aether. It is to no avail, as Algrim batters Thor and Malekith continues to draw out the Aether from Foster (above).

In the frey, Thor and Foster return to Earth after stumbling through a portal between the two dimensions (realms) created by the Aether.

Thor fighting Malekith

As Thor battles Malekith, Foster and her mad scientist friend Selvig use devices they have constructed to shift energy where the nine realms meet (below). A porthole in the sky opens and at the last moment, they transport Malekith and his ship back to the dark world of Svartalfheim, where the ship crushes him.

The day is saved… In Asgard, Thor declines Odin's offer to take the throne and tells Odin of Loki's sacrifice to save Asgard form destruction. As Thor leaves, the image of Odin reverts to the true form of the shape-shifter Loki (the trickster at it again), who has usurped the throne and left us movie goers a taste of the of the third Thor movie to come?

Phew, if you got this far, it's back to this ‘future reality’ next time! 

Look at for the second Hunger Games movie, Catching Fire and The Hobbit, I’ll be reviewing those next.

Until next time
Neil

New Work