[Excerpt from 13.13.13 RA and the ONA]
Around 2003, following my still as yet unrivalled success with creating the Tarot described in Naos [aptly termed the Naos Deck] I began to turn my attention toward the Basic and Advanced Star Games. The Star Game was a jealously or perhaps undeveloped secret of the ONA until I wrote an essay explaining how I felt it worked based on my workings with it. Up until this point there were only vague hints about it in public,a handful of mysterious templates designed by Lyceus and the skeletal guidelines offered in Hostia and Naos.
[One of Lyceus's Guarded Notes to me]
Following my own extrapolations of how it worked in Black Magical Sympathy and the Star Game – [Download: Extract BMS TOT] ONA finally shared its own revelations which were not dissimilar to my own, allowing me to see that I had indeed understood and mastered the principles of the Star Game – and from it, learned key new magical skills including a bifurcation of rational and irrational thought, simulteity, lasting mental orientation of objects in physical space, and most importantly, abstraction. Rather than stare dumbly at it unable to use it because of lack of guidance or instruction – I was able to develop and codify a procedure, context and magical method for mapping any of the pieces to represent any level of phenomena years before ONA were kind enough to release or write their own private documents relating to it more or less re-iterating my own.
The first set of the Star Game I constructed was a paper set just to be able to begin exploring one as quickly as possible. The second version was merely a paint program showing miniature versions of the boards and sets of spare pieces on another open paint program. In the first years of the original Mvimaedivm forum THEM would emerge from I sought a means to play the Star Game long distance with N.L. a former member of THEM who would become the leader of an Italian Nexion of the Order. I used miniature replicas of the boards drawn in a paint program with Schreck-syle (a famous chess co-ordinate system) numbering to allow me to map where each players pieces where without being able to see each others boards. And entered into a game with him, testing the prototype system and its usefulness.
Download Our Turn-Based Game Record: NL vs Friend Ley Mvim SG
The game did not function as expected when we realized halfway through that I had placed my pieces on the wrong squares causing asynchrony. Since we had each made a magical bet on the game we continued but the experiment showed me how easily it could go awry without synchronous set-up. The ability to play long-distance and the adding of co-ordinates was a simple but greatly effective development of the existing Star Game by THEM and lacking in the original instructions supplied by its creator, Anton Long – perhaps due in part to the climate in which the game was developed, long before the internet and the game’s contemporary level of fame (still regretfully minimal).
As we would discover quite quickly playing the Basic Version (with no “Chaos” Tile or Tier 3)
“Those who have been following the Star Game [SG] undertaken by NL and
Friend may by now have noticed the immediate problems that arise in a
competitive game of the SG – the first of which is the case of the
sul/sul aggressor that is strategically/mathematically the only way
during a competitive game to gain an advantage. This unfortunately
creates a great weakness in the SG that should be addressed. THEM
acknowledges that the Basic Game is viewed by ONA as mere training
for the more advanced game, yet unless this issue is addressed the
exact same weakness will surface in the Advanced Star-Game in any
competitive game whereby players will again automatically vie for the
largest number of the most powerful pieces [In itself a social
commentary on the unconscious psychic drive of the Western mind].
Exoterically the inability to take an opponents piece is open to
subjective interpretation. However, one meaning, might be taken as
superior control by the player of the matrix: a representation of
salt-type control and the manifestation of causal components under
control or fixed in stasis by the player; components upon which the
opponent is helpless to act upon and must move to undermine or re-
configure the component via the applying of pressure to external
components that may be supporting the `shape’ of the players
component. For this reason; the Naos Invulnerability rule being a
reflection of real-life situations of just this: may be useful and
accurately representative of life. Yet mathematically, it creates a
simple and highly restricted channel for achieving one’s aim [that
aim being the correct combination of pieces on Mira for example] –
and may lead to the conclusion that brute force/power is the only way
to win. In many cases, it can be: but the mathematical mode utilized
by the SG is unfortunately trapped by its own brilliance of
abstraction to a repetitive mode: a mode that must be followed for
success: a mode of stasis that could be essentially Un-Satanic, where
that mode is followed to conclusion again and again, the player
believing it an accurate representative of the causal/acausal.
[Other members of Mvimaedivm group are invited to offer comment.]“
And other such issues would arise to demand further development of Al’s wonderful but problematic game.
The concept for the Paint Template of the Game was that when a piece moved it was cut and pasted manually and then the square from which it was taken, repainted black or white to restore the patch it left in moving it. This was my first step toward creating a playable game. I would for the next many years, inspired by the SG, continue developing my understanding of abstraction, often eclipsing that of others who did not have the benefit of the tool of the Star Game to advance their mental faculties or who simply could not think that way. Impressed by how it had changed my mental powers and moved them in strange but insightful directions I sought to teach what I had learned to others and published a short volume called ‘The Star Game: Assorted and Advanced Essays’. In this, I shared my theory of seven degrees, black magical sympathy, and practical considerations [full article can be downloaded above] I had encountered such as how to get 9 symbols onto a 6 sided-cube, the schemata for my unique cube code that enabled the easiest means of swapping and turning pieces, tips for painting, and a few exuberant criticisms (one in particular regarding the theoretical difficulty of constructing the ASG – which I later discovered were unfounded through actual construction).
The third, fourth and fifth model’s I created were crafted of wooden panels and wooden cubes which I hand-painted.
[Fig A - Bronzed, Silvered and Golded Cubes]
[Fig. B - The Assembly Line of A Legion of Star Cubes.]
[Though slightly difficult to see, each cube in Fig. A had its edges bevelled. This allowed creation of three different sets of cubes, each set painted either bronze, silver or gold. Bronze contained sequentially the 6 symbols of the total 9. Silver contained the next 6. And gold the final 6. This allowed many pieces to be moved 6 times before it needed to be replaced – and when it did, the next cube in the sequence could easily be found by looking at the colour of the edge. This minimized hunting for the right piece – it also enabled maximum stability – which is paramount for a game raised as high as the ASG or even when represented horizontally it required a huge space and opened up multiple chances of knocking the boards losing the places of the pieces (which cubes were least apt to do) – as well as prevent smaller faced pieces (7 or 9) rolling onto other faces when bumped potentially causing argumentation of the respective face that should be showing. The vast number of cubes needed by the ASG requires intense dedication to create.
Fig.B – Each of these cubes were hand-painted, with another set not shown needed for spares – approx 240 are in this full set, with, on average construction and completion time for the cubes alone, 2-3 weeks. Varnish or lacquer on them after painting, highly recommended. Also helps to have a visible chart to remind you which sequence you are doing, [if doing RA-style cubes] because the paint fumes, close attention to detail, sheer number of cubes, and patience can be quite distracting, and repainting cubes adds a lot of time to an already timely project.]
In the beginning of my endeavours with the SG – I mistakenly believed the ASG was at one time a theoretical game only. It is not. When there was talk of seven-sided or even nine-sided pieces I found through experiment this to point at a theoretical romantic ideal of the Game, since the slightest movement and such small faces roll, that and getting adequate symbolism onto the faces is daunting and next to impossible to see. Some laws of geometry you just cannot argue with and I have yet to see an effective 7-sided or nine-sided playing piece demonstrated as useable by any other creators of a Star Game.]
[Cover of The Star Game: Advanced and Assorted Essays. Also available on Scribd and from Sinister 101 Syndicate freely, but we do appreciate any financial support from purchases of hard copies.]
In my excitement as a young man embarking on an esoteric adventure in many regards, I sought at one stage to undermine the practical physicality of money and initiate a barter system between members of the Sinisterion. To this end, I bartered with a lady in the UK named Elaine to swap the unpublished Book of Wyrd (of which she sent me a few pages to indicate it existed) for a fully finished Star Game set. Owy (my mistress) and I spent two weeks in my garage working on the set, with me teaching Owy how to paint the cubes and how the game worked. Finally completed after a fortnight’s dedicated love and labour, I organized the game to be sent to Elaine. So full of promise that her Word might mean more because it came from ONA than mere mortals, I trusted the return to be reciprocated. To my displeasure and sadness, I never heard from Elaine again and it greatly hampered my enthusiasm to build a barter system for THEM;- as well as broke something inside me, something naive perhaps, that never fully recovered. I became much harder, and have not been foolish enough to enter any bargain without adequate safeguards, such as the Other sending their part of the agreement, first. [I have since regained some desire for the establishment of a barter system within the Sinisterion or at least within THEM and created a new currency for THEM by way of its publications, passing signed copies to members that they can sell should they need a decent amount of cash quickly.]
Unperturbed but wiser, We created a new set, with the addition of the Advanced boards and I practiced using it for more than a year, learning many mathematical problems with the Star Game in the process, such as the easiest way to win first if you start first (which my electronic conspirator Meq would also later discover) and a number of fascinating things about the Game such as the neat way exactly nine tetrahedrons formed a single Star Board.
As with all of my prodigious energies relating to my involvement and interest in the ONA – everything I did was geared at just one thing, Expansion. I was working to make the ONA better, more accessible, adding to its wealth of esoteric lore, spreading its Wyrd far and wide, preserving it in archives for others to find then and even now in the future, ensuring that the ideologies of the Order were updated [Such as writing out by hand the lengthy text on Vindex: Destiny of the West or carefully editing all 800 odd pages of the Deofel Quintet to restore it to a former or at least readable glory and other such laborious odysseys.] I revised these aspects either through experience or by sharing experience and findings in other aspects of the Sinister or other magical and mundane systems in which I had any involvement that could translate. To this end I had always desired to create physical templates or sets that others could use to learn the game, develop abstract skills, and buy inexpensively. This would ensure the Star Game would survive, pass through many more minds, and, as ONA hoped, take it toward the steps of the much desired playable electronic game I would later pioneer* on its way to the even more highly anticipated state of bio-feedback loops. Or in laymans terms, toward the virtual Star Game. But first it had to become known, popular and develop into something more than it was.
(*Credit must be offered to NL who I understand also attempted to create a playable game for the Order -unfortunately without success).
Somewhere in the labyrinth of all of this I was communicating with Dark Logos of ONA who had instructed me to learn and design a playable Star Game for the ONA:
“2) If possible – and either before or after the Internal Adept Rite – become proficient in a computer language (such as C++ or Python) and write a GUI Open Source computer program (preferably for Unix/Linux that can be ported to Windows) that will represent both the simple and the advanced form of the Star Game in 3-D form” – DarkLogos
which is how I learned of the futurist stages the ONA intended to take the SG through. But of help there was none, DL was unable to explain or solve continued system problems I was having with pyOpenGL and the idea of then learning Debian and/or Linux seemed too far beyond the pale – in effect, I felt that the ONA should stop being so lazy and do it themselves. This was not the first or last time I would be surprised that the ONA outsourced such tasks, and wondered why such elites hadn’t completed such projects themselves. I had in the course of my involvement with ONA seen the changing tides of gratitude afforded to contributors over the years, seen even Richard denigrated and shamed, much to my surprise and anger – [though of course it must be remembered that when I was in my purist mode of worship of ONA I sought to honour this disregard of Moult's legacy, go along with these changes and created the 119yf edition of the Black Book of Satan which omitted Caelethi and CB's contributions - sorry Richard.] Then of course later I would see ONA use Richard’s artworks shamelessly, and strangely, since he had become an outcast who ONA openly disdained. Christos Beest and the ONA More about Moult and the ONA This fairweather treatment of ONA’s single greatest Artist who was scorned but whose works were still used, made me wary. Truth be told, it was about this point where I began to diverge from my purist phase – in his role as ‘Eusebius’ – Beest had taught me a tremendous deal about many things, Self-Honesty, Vision, Self-Trust, imbued me with the most intense resilience confidence and awe – but most of all he led me back to myself. When I told him I was going to follow the way to the Letter and needed advice on how to get a number of rare and outlandish items, he told me it didn’t matter that the Path was followed to the letter, very few had done it, and it simply wasn’t necessary – what mattered was blood and soil and to earth such energies and passions in my own way in my own locale – viz, Australia. I felt and still feel a very strong loyalty to him and his choices which I sought to elegantly combine/marry by encouraging the project of Emanations – there is something about the man that is Other-worldly. No doubt AL was furious when he lost CB and lashed out because CB was the force that brought ONA to life – from stuffy mathematics and long-winded diatribes on black and white paper, to sensuous vistas of music and art. I adamantly believe, No current survives without such genius, and certainly not for long, without the lifeblood of artists. Hitler had Speer, AL had CB. Had…
Given these observations my enthusiasm expressed via my purist vigour to retain faith and respect in the representatives of ONA and indeed the cult itself, had definitely begun to wane – a newer colder more detached and careful man would I be, not in a rush to bury myself with thankless tasks to someday have traded my life for similar repugnant scorn. But I still felt there was a future for the game so I kept an eye out and continued trying to create it – however I could. Irrespective of any growing blood feuds between myself, ONA and the oncoming WSA I saw the value in being introduced to the doorway of the same abstract magical skills that I had through the Game.
Watchful for opportunities, just as I was in noting all the artists who came into my sphere and trying to encourage them to create a new Sinister Tarot to replace the rather unlikely Naos Tarot (In all, I had serious discussions with about 16 artists, all technically better artists than myself (in my opinion) about creating such a replacement but none of them were able to complete the project because of the scale, personal dislike for ONA, unfamiliarity with ONA or other salient reasons including the ONA’s legendary rudeness which often quashed efforts in all expansions of its creative endeavours and which transferred into my own efforts to expand the Tradition by having to console insulted craftsmen.). To start with, I kept an eye out for game programmers, sent the Star Game concept into a few universities, circulated it on game making sites and dropped hints about it to 3d software developers. But this was not a language I understood, I was out of my depth when it came to electronically building the damn thing. Spurred on against these odds to understand a new language, as was befitting of the new type of human I felt I was supposed to be becoming, I dedicated a year to learning about 3d models, OpenGL, and other game related skills. I attempted to make the Star Game using lesser game crafting systems, but the complexity of the alchemy of the pieces would not translate in any of them.
After serving only to boggle my head with an unfriendly onslaught of terminology to which my brain does not apparently lend itself with either grace or intuition – I realized about then that I had given it my best shot trying to encourage the game’s growth and development, the concept of which had to often be disguised because of how many people were immediately turned off by the ONA or the idea of helping Satanists. And since nothing had come of it via that angle – and no advancement had been made in development due to being unable to interest prospective developers – I knew I would have to try something different. I had realized by and by the importance of other people’s skills and that, just because I was unable to appropriately execute a task or project, I could possibly get it done by involving others. (Consider the Temple of THEM for instance, once a one man job, now an eight person army.)
I set about learning about 3d modelling programs and encountered a free one called Blender. Then, adopting a moniker and sporting a camouflaged version of the Star Game, I scoured the net for an individual who might teach me more and discovered a fellow who was already making spectacular 3d games. I infiltrated him slowly as Edward Laden, and spoke to him about the ACG, the Alchemical Chess Game, since it was my considerable experience by now that most people ran like hell when you mentioned Satanism or ONA. With my new friend I would attempt to learn to make basic shapes in PyopenGL having learned that it would not be difficult to complete the project I had suggested and that he would help me. However, it was not to be, I still have in archive hundreds of pages of emails regarding our often baffling discussions of the physics of the GL system and all of the ideas I wanted to implement but for whatever reason, me being inept, being unfamiliar, software incompatibility or just plain dumb unlucky, I was unable to work out how to use pyOpenGL which would not do any of the things Ian instructed me to type in and try.
Parallel in the course of my fumbling to use OpenGL, through many months of reading manuals and blinding frustration I finally created the first 3D model of the Star or Advanced Star Game ever made on a program called blender whereupon I uploaded all my notes, a greatly simplified guide to enable users to move the cubes in Blender, and the Blender file itself to the existing ONA forum at yahoo. I had hoped that even in the face of my failure to be able to use PyopenGL to have had inspired Ian enough to want to take on the project himself. The 3D model was the easiest and compensatory way to illustrate the concept of the Game visually without involving the association I had with the ONA’s Star Game. To this day Ian has no idea what he was really being asked to collaborate on.
[One of the baffling errors that kept re-occuring in my PyopenGL attempts]
I was, despite being unfamiliar with the particular language of Python et al – no stranger to creating games. I had created several board games in my life either for fun or as school projects, also played intense years of D&D types games with insane devotion causing me to create giant maps that took up walls of detailed worlds and equally detailed bios of everyone and everything in them, not only in one system but three. My ability to persevere with lengthy tasks was an early gift. But I had also grown up creating and dissecting the games on my Commodore 64 computer which I was lucky enough to win at ten years old (a then $3000 computer) through a Quik drink competition. Having grown up in an isolated town in New Zealand, when I wasn’t exploring the countryside, fishing, rafting or breaking into the school I would be on my computer. Many of the games back then (the designers of which now form the backbone of huge existing game companies) were rudimentary – one called Shifting Sands was one of those games without graphics that required the player to type what they were doing, picking up, or direction they were choosing. It was intensely difficult. Many of those types of games were. I learned through trial and error that it was possible to list the program code for some of these games. And that in doing that, the key terms needed to bypass certain points were revealed. I learned the very basics of IF, THEN, and GOTO and began designing my own games of that format, one which was hundreds of locations in length and saw the player collecting coloured jellybeans. It was very basic, but I would encounter other ‘games’ that allowed you to tinker with the sprites, pixels, clipping, sounds, and such and these introduced me to the backstage concepts behind games. Though my C64 was limited, my understanding of what was required to make a game, make a good game, the very basic things that were a game, were very solid – the only obstacle in my way was that translating ideas into code sometimes required very sophisticated instructions and languages to achieve (and as time went by the importance and elegance of a good graphical user interface became paramount – one that used symbols not text in keeping with the theme of the Game’s design) and these previous experiences with gaming would come into play in my conceptual sketches of my vision for the electronic Star Game.
I would also do what I could to create practical usable ideas and templates for others who DID have the skills I lacked or did not have the nous or time to learn. In the hope that they might be able to use those ideas as foundations and have already solved problems and applied practical considerations ready for them. Frustrated however by my lack of success either in self developing the game or hand-balling it to or inspiring my game mentor and with no progress evolving, I slowly dissolved the relationship with Ian and looked for an alternative.
[Exercise in trying to understand the different dimensional qualities of 3d space]
[One of the many Prototype screens to convey information effortlessly and intuitively about the pieces and boards in play using as much symbolism and as least direct text as possible.]
[The Main GUI design (redesigned several times) to use intuitive use of the symbology of the Star Game for the player to select various layouts, zoom in or out, open various screens, examine various boards, and see important information about the state of play and to do it effortlessly.]
[The first ever 3D model of the ONA’s Advanced Star Game created by myself as Edward Laden (ref to then popular Bin Laden / and mythical Aladdin viz. E Ladden ) The model is shown complete with sets of 3d cubes with extruded imprints used to create the alchemical symbols. The creation of the model in a physical format in fact reveals several interesting phenomena, one of which is that the top-down view of the boards forms a septagram… The others, I leave to intrepid explorers to discover.
[Developers/The Curious please note - The Blender file can be acquired from the Temple. Wordpress does not support its file type as a download.]
Since I am and always have been a nice guy who cares a great deal about the integrity and future of the Sinister, the people who comprise it (The Sinisterion) and the advancement of tools and information within the Tradition of the ONA – despite appearances at time (appearances which only fools would trust) my longevity in ensuring future initiates have access to genuine magical and sinister tools and knowledge (and not just within the ONA paradigm) should signal my genuine intentions and dedication to what I say I do quite loudly by now. On that note, I have uploaded the Star Game Instruction Booklet that accompanied the most recent physical ASG 2011 model and may help clarify and aid those attempting to learn the Star Game with my unique approach to its geometry and a detailed break-down of all its elements. You’re welcome.
Download: [8mb] Star Game Kit Instruction Booklet
: With pyOpenGL being a no go no matter how many times I installed it or what I read about it – the means to resolve my difficulties remained hieroglyphic. Years later, as new technologies became available, I created a mini version of the star game for portable travel released through Gamecrafter. The difficulty was in ensuring the 1 x 1 cubes that were all that Gamecrafter supplied, would fit a given template uploaded. Luckily through trial and error I was able to figure it out and released the mini game onto the market. It sold approx 12 sets before Gamecrafter updated its system software causing all of my hard-work to be destroyed, wiping and corrupting my data. I had lost a number of key illustrations after loading the schemata into Gamecrafter and was thus loathe to try and restore it due to the difficulty I had already endured to release the game in the first place. I still have one set of the mini version, its very cute, but also, I hope that it was bought by at least a few would-be Internal Adepts looking for a sweet compact kit to take out bush where space for food in the bag is at a premium.
Issued in 2008, the set showcased the Advanced Layout in a horizontal fashion, with expectation on the Adept to mentally arrange the tiers vertically in their mind. There were discussions with Owy whether to add perspective pylons that indicated the rising nature of the tiers, but in the end we felt that if initiates were going to learn abstraction, then they should be enabled to learn it correctly without too many expected visual cues. This set contained the small unmarked cubes (wooden) which were unfortunately just too small to form a serviceable game for anyone but those wishing to have a super-compact version. Due to learning and playing the game I had understood the need for several additions to aid a) players whose minds were easily so absorbed in the Game as to forget agreed upon rules. To wit there were developed rule cards of active rules that could be displayed by each player so there was less chance of transgressions during play and also act as helpful reminders of potential strategy correlating to play within those rules. and b) newcomers to the esoteric use of the ASG, who were offered a set of planetary sphere cards with the respective attributions to enable a step toward beginning to use the boards as a means of abstract black magical sympathy.
Two years later, not satisfied with the small size of the cubes I sourced a rare printer who did large cardboard templates, wooden cubes from an educational source, and re-imagined a new version which was mammoth in size and much more appropriate to the needs of those seeking to learn the Game. The co-ordinates required to play long-distance were able to be installed on the boards which were much more spacious than their 2008 counterpart.
[The Design elements, i.e. Star System Templates were also able to be more detailed and created an absolutely beautiful looking Game oozing the requisite Atmosphere. Here are Two of the Boards compared in scale with a Compact Disc. To ship the game overseas to the few buyers quick and lucky enough to be able to afford this luxury item cost approx $130 in postage alone due to the weight of the pieces, the heavy boards, and the sheer length. This was one of the unforeseen factors that caused the project to be abandoned.]
[Here are the Star System Templates of all Seven ASG 2011 Boards.]
[A lot of consideration had to be given to the 2011 model, some of which was using matte rather than glossy cardboard finishes to prevent light from obscuring sight of the pieces. THEM stylized the Game further by adding its own signature piece on a red cube marked with the Temple symbol and various symbols indicating 1-3 to act as a tracking device of 3 turns that each player could activate to keep track of how long another player had been on Naos or Mira if the 3 turn rule had been activated.]
[A stunning looking set that finally completed a lengthy dream of a fully playable, long-distance enabled, accessible edition of Anton Long's genius invention, the Star Game. Finally earthed some ten years after I was first struck by it.]
[The 2011 Model ASG (left) compared in scale with the 2008 Mini ASG (right). Both blocks and boards can be compared. Note also the room for co-ordinates on the 2011 edition. To create the ASG 2011 required sourcing a large-scale printer, a source of wooden blocks, photoshop, microsoft paint, tins of model paint: 3 types of metallic, red, white and black, tiny brushes that don't fray, turpentine, and a hell of a lot of patience. The results and efforts of my experience with the Star Game paradigm should speak for themselves.]
One final thing about the ASG 2011 that is not readily apparent should be mentioned here. One of the other important improvements to the ASG 2011 was the cardboard on which it was designed. Purists, if they were so inclined, could easily cut out the respective Advanced Tiers and trim the remaining (Basic) boards down to size, so that the cut-out templates could, using various clips and light pylons, be arranged vertically as per the classical game. Ultimately, I think it makes no difference whether the boards are tiered vertically or represented spatially vertically horizontally flat – because the principles of the Star Game are abstraction, simulteity, magickal sympathy and representation; Suitable mental effort can hold the boards in the mind in any formation desired using abstract keys just as appropriate concentration on the Atu’s of the Sinister Tarot can bring the images to life using devoted imagination.
There was during these developments by myself a lot of talk by others of an electronic version of the Star Game – but little action. Just as there was lots of talk about the Naos Deck, but here I am, still, waiting for a replacement even for that. I even stepped in last year to encourage Richard Moult to sanction a fuller set of his paintings to help force some new and better incarnation of a Sinister Tarot in the way of Emanations – but for such an apparently ‘easy’ task, it has not been replicated in more than a decade and references to it as one of the first steps of a Neophyte are coyly dodged – why? Because it’s fucking hard and only a very few can do what they say they’re going to do. Perhaps ONA’s current draws few artists and mostly uncreative warriors. Perhaps that will be its ultimate downfall. It was exasperating that when opportunities did on occasion present themselves of development of … well anything really, for the ONA – they had a terrible habit of being arrogant and dismissive, often infuriating or insulting the very persons who could enable them to earth a better Tarot, Book Label, and Star Game. I was trying to help them replace my stand-in efforts as a kid but they haven’t made it easy.
In the last two years, a guy named Meq with the necessary skills to actually build and execute the Star Game was making inroads but received little to no support from the Order. Financial gain was not forthcoming to help develop the Game and perhaps principally because of these breakdowns in reciprocation he rejected the request by ONA to make his code available, setting their aims toward the bio-feedback version, back yet again. I convinced Meq to continue with the game and offered as much encouragement as I could – providing him with the transcripts of my discussions with Ian and my various conceptual interfaces and ideas including instructions on how it is played.
Meq’s Electronic Playable Version of the Basic Star Game
This small amount of encouragement to keep going, and Meq’s own determination, fire and computer-based skills resulted in the first playable edition of the Basic Star Game – some forty years after it was created by AL of the ONA. Essentially, the Star Game has a long way to go, both in being picked up as popular or worthwhile development by mainstream society or by those who possess the skill to take it to the next level and create an Advanced version with perhaps the inclusion of such suggestions as AI, a Graphical User Interface that uses abstract symbolism rather than text to get and keep the brain in the right space, and even the desired (by me) whirling accurate depiction of the requisite Star Systems enclosing the game to teach consciously and unconsciously the particular layout and aesthetics of the celestial heaven… But such exhortations to bring the game to this next level, and indeed even its next, may have to come from others. I have done a sizeable chunk of the legwork but it’s time to pass the torch – (if anyone is there to take it) because my energies have long been focused on other projects also in need of some rare one who gets things Done whether those things are visible, or not. Appreciated, or not.
Further Reading on the Invention of Anton Long’s Star Game
See more Images of the ASG 2012