Most might recognize Hans Rudi Giger's work from the Ridley Scott film Alien, for which Giger designed the central monster. Other than this, Giger is generally known for his 'biomechanical' paintings and sculptures. The full scope of "art" works of HR Giger are far too numerous to document or discuss in full. A video compilation of many of them is available here. The clip contains NSFW material and is accompanied by a soundtrack that some may find additionally triggering.
I was initially prompted to take a closer look at Giger after I realized the strong similarity between Giger's Alien design, and the early form of a human embryo, as seen below. As will be discussed later in this post, in the course of looking into Giger's history, I discovered what appears to be evidence at minimum of Giger's awareness of the use of food items as code words later made infamous in the Podesta Email scandal that morphed into "Pizzagate."
A human embryo within the first month of development is strikingly visually similar to some depictions within Giger's work.
Giger's representation of the earliest stages of human development is both terrifying and violent. Giger makes the most vulnerable stage of human life into a monstrous danger. He weaponizes gestation to the point that a fetus is not a child who cannot survive outside the womb, but a bomb, a bullet, a spreader or contagion, as if infants had the power and design to kill. Likewise, in the film Alien, Giger's Xenomorph and its life-cycle incorporates rape, male and female genitalia, and the process of birth simultaneous with violent death.
In the film, we witness "impregnation" via a "face-hugger," designed by Giger. Afterwards, gestation in the human chest cavity ends with an explosion upon "birth," at which time the offspring begins its rapid growth followed by a violent rampage.
The film is presenting us with, essentially, an oral rape as a form of insemination, followed by the kind of rib-cracking disembowelment commonly described in ritual abuse allegations. Oral rape appears almost constantly across nearly all of Giger's work. One blogger discussed these themes in depth, writing of Giger's design for Alien: "... The personal violation of one’s body by a parasite is what truly drives this very primal fear, which Giger explained at length in multiple interviews."
Some observers cite Giger's fascination with gestation, birth, babies, violence and disease as part of his central horror at the prospect of global human overpopulation. In that sense, his take on the human fetus as parasitic and deadly in his Xenomorph, or armed and shot out of a gun as a bullet in his other works, makes a superficial kind of sense. We also know that this concern is a central one for other members of the global elite, from royals to politicians and TV presenters. Severe population control is also mentioned at sites like the Georgia Guidestones.
The use of the barrel of a gun as a phallic metaphor for the delivery of children (and children as bullets, bombs, etc) is a motif seen in many of Giger's other works, which we will discuss later in this article.
However, I don't feel overpopulation fully explains Giger's imagery. The artist is also quoted referencing his own nightmares and worst fears as the source of his work:
"As a child, Giger was beset with night terrors, a sleep disorder that causes episodes of intense fear, screaming, and flailing during rest. To combat this, he began drawing his nightmares in self-directed art therapy. Much of what viewers see in Giger’s work is something that once caused him fear, but instead became an inspiration.Dan O’Bannon, the co-writer of Alien, once asked Giger why he was afraid of his visions since they were just a part of his mind. Giger responded, “That is what I am afraid of.”"
The Guardian's obituary for Giger likewise cited night terrors and art therapy as the genesis of his artistic expression:
"Giger's "biomechanical" style was born out of his experience of night terrors and the art therapy in which he partook to combat this sleeping disorder."
What caused Giger's early "night terrors"? Was he ritually abused, sexually abused, or otherwise traumatized? How did this material end up within the psyche of a young boy who had not personally encountered war, disease, or natural catastrophe? A serious reason to raise these questions includes Giger's purported anxiety towards sex and women, which is also cited as a reason for the darkness in his work.
If Giger was himself abused, might it explain the disembodied genitalia and other body parts throughout his work? Perhaps Giger's gut-level horror of overpopulation isn't simply a cover provided to shield a darker meaning, but is in fact his way of verbally articulating a morbid fear of reproduction, sex, male and female genitalia, primarily inspired by abuse.
Additionally, Giger's constant portrayal of infants and fetuses as bullets or bombs, and penises as guns, inherently ties sex and reproduction to violence. Read one way, we can dismiss this reappearing motif as representative of warfare, planetary destruction, and related ills resulting from an overpopulated humanity on a global rampage. However, this same symbology can equally be read as resulting from deep trauma, which thereafter intertwines all aspects of reproduction with violence and horror.
As an aside: Does Giger include Zippers in so much of his work because he saw one up close before being abused at an extremely early age? ( Zippers will come up again further along in this piece)
Is Giger both a victim and a perpetrator?
In addition to Giger's depiction of monsters that closely resemble fetuses, we witness a very clear depiction of birth, diseased or rotting infants, and occult references.
Giger: Victory III
Most readers will need little reminder of the centrality of birth within ritual abuse content, from the infamous words spoken in Comet Ping Pong, ("I had to put that shit down. Euthanasia.") to the childhood drawings of RA Anon, to allegations made by survivors in historical ritual abuse rings.
Rape, torture, and murder during the birth process were documented among other horrendous abuses in the testimony of alleged victims in the Dutroux affair.
From an article on the subject that contains NSFW and very triggering images, we read:
The same site provides the only parts of the X-Witness testimony that has been translated into the English language, and its documentation is invaluable. There is a much larger book, written in Dutch and translated into French, which details the entire case including the X-Witness testimony, but the work has unfortunately never been translated into English.
Returning to Giger, his horrific representation of birth is exemplified in the following "Stillbirth Machine" series, in which the infants appear to die upon delivery via bizarre machine function or the murderous attention of an attendant.
The following images comprise Giger's "Stillbirth Machine" series.(1-3)
In this first version of "Stillbirth Machine," we see a woman positioned upside-down with arms and legs splayed, evoking the shape of an inverted pentagram. She appears to be giving birth through a large metal phallically shaped tube, which doubles as a mechanical birth canal. It appears that the infant is about to be stabbed in the neck by two pincer-like instruments upon exiting the pipe. The mother appears to be almost smiling, possibly unconscious of the fact that she is birthing. She is restrained at the hands and feet, and her eyes are covered by a metal plate.
The second "Stillbirth Machine" image shows another scenario in which a woman - this time wearing what looks like Egyptian Pharaonic headgear - is giving birth via a large phallic/vaginal metal birth canal, which unlike the first image also evokes the barrel of a gun. As in the first image, the infant's head is emerging from the top of this barrel, however the child is awake and conscious, terrified by a metallic tendril - the tongue of a multi-armed, decaying attendant -which is on the verge of stabbing their eye, presumably to go through the brain and kill him (or her). It seems this has happened many times previously, as there is a pile of rotting corpses of infants in the layer below this birthing scene. The two layers are breached by a disembodied phallus, into which a rat appears to be either crawling upwards or is being expelled tail-first.
Perhaps this deathly attendant - and the skeletal figure embracing the mother as she gives birth - is intended to communicate the presence of death at the moment of birth in the sense that the birth of every human being ensures that they will at some point die. However, the additional images in this series suggest that this is not the only meaning conveyed.
The third "stillbirth machine" image removes the face and upper body of the mother from sight, presenting her genitalia to the viewer, from which an umbilical cord runs upwards to a capsule- instead of a tube - which holds the baby's body. Again, the infant's head is the only part to emerge from this pod, a mechanical placenta connected to the body of his (or her) mother. The child is no longer unconscious (as in the first image) and no longer terrorized on the verge of death, (as in the second image) but is being actively killed via what looks like gas or steam being sprayed from both sides of his head.
Rob Ager analyzed Giger's work, noting the core association in Giger's art between birth and death, to the point that birth is death. Ager's analysis is worth listening to in full, though it includes NSFW images and may be triggering.
Ager discusses the intentionally vaginal appearance of the eggs Giger designed for Alien, the artist's negative attitude towards religiosity, and his focus on themes of reproductive, death, and disease, calling it a "birth-death fusion." He also speaks of Giger's use of guns to represent penises, which may inform us further on the previously discussed "Stillbirth Machines" series.
"Victory IV"
See also: Victory I, Victory II, Victory VI, Victory VII Punk, Victory V Satan, Victory VIII, etc.
When it comes to ritual abuse, the headline of Ager's analysis is also literally correct. Ritual abuse intentionally combines birth with death (and cannibalism), sex with death(snuff films), etc. This may not only result from a sadomasochistic impulse or profit from illegal pornography, but also falls into line with the oft-described penchant for reversals described in ritual abuse groups. Very young survivors often describe reversals like "good is bad, bad is good." Another deep core reversal would then be, "birth is death." This kind of reversal is part of the common overall focus on duality among some occult groups (including those who are not ritually abusive), and many religions.
In addition to Alien and its descendant films, Giger's work directly informs the more recent film Prometheus, (itself a reference to Luciferian concepts which were previously discussed regarding the creation of Lucis Trust and the United Nations.)
One of Giger's films, the "Necronomicon Documentary," includes snippets of the pizza and pasta imagery central to Pizzagate.
At 8:33 minutes into the film, we are presented with one of Giger's paintings of rotting or diseased, but still-living infants, before the scene diverts directly to an image of extremely sloppy pizza being cut in a tray and messily served on plates. The depiction of pizza, and later pasta, in Giger's film may seem innocuous enough, but I found the placement of infants just prior to the inclusion of the pizza clip indicative that Giger intentionally included pizza and pasta as references to child exploitation.
The video is linked below. The pizzagate-relevant passages in the film begin at approximately 8:20 minutes and 22 minutes, but there is additionally interesting material throughout. For example, the hand signal in the opening frames, which were filmed long before youtube existed, much less youtube-popular theories regarding celebrities and this same triangular hand symbol. Likewise, the pizzagate-relevant food items were included in this video decades prior to the pizzagate scandal* and for that reason are totally independent corroboration for the meaning of these items.
Images from these relevant aspects of his film are pictured below:
First we see the camera linger on multiple shots of Giger's paintings of the faces of infants.
Then the image of the infant's faces dissolves into a closeup of bubbling pizza at 8:49 minutes. The implication here, given the use of "pizza" in terms of child exploitation, and especially in the Pizzagate scandal, is clear.
Finally, seconds later, we watch the pizza as it is cut and served, in my opinion connoting cannibalism and not simply sexual abuse or pornography (or of course, in the minds of skeptics, nothing more than a dinner party in the midst of a surrealist film combined with pasta later on, Giger just loves Italian food like the Podestas...):
Speaking of pasta: at approximately 22 minutes into the film we are subjected to the display of a man apparently experiencing difficulty unzipping his pants.
At the precise moment the plants unzip, we are then shown phallic imagery - focusing in on snakes - from a number of Giger's paintings.
If the phallic imagery weren't clear enough, one of Giger's works clearly informs us of the meaning of this zipper-moment in the documentary. The title of the work is Passage Temple, and it was discussed in the previously linked analysis of Giger by Rob Ager.
Immediately after the phallic imagery of snakes, the documentary cuts to pasta being messily served onto a plate.
Given the symbology surrounding these two clips, it appears to this author that the film's suggested meaning for Pizza was most likely the cannibalism of infants rather than simply pornography (as the Pizza is shown being cut and served), while the Pasta clip was a far more distinctly sexual reference.
Again: In the entire film, the only food items we are shown are pasta and pizza. One needs little reminder or their use by the Podestas or by James Alefantis on his Instagram page, as included below:
Later in the film, we again witness one of Giger's paintings of diseased infants, where it is displayed in the home of a nuclear family with toddlers running around, as their parents happily recount how "horrified" their visitors are at the sight of the piece. According to the English translation, the mother says:
"We bought this piece because it fascinated us... this picture expresses everything for me, which a woman can feel for a child: birth, contraception, overpopulation, infection, and plague."
This material, though lengthy, will be followed up shortly by an additional post that will focus on Giger's links with the occult, which are numerous, and include videos and direct homages to Aleister Crowley.
Giger's clear use of ritual abuse iconography in addition to his inclusion of pizzagate-related food items decades prior to the Pizzagate scandal makes him an important figure for further study, and my next post will discuss his clear occult ties and their possible significance. I hope this series provides some further understanding and validation of pizzagate symbology, and the existence of ritual abuse in general. Giger provides a clear visual reference point when trying to define what ritual abuse is.