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[Alexandr Korol]

I immediately drown in the multiverse I’ve entered. It’s as if I shut down — I lose awareness, I forget who I am, and I sink into it. And then I suddenly realize that all people who are plugged into these multiverses have completely drowned in them. There is a corridor where you observe all these worlds from the outside, where you are fully present in the moment, with clear vision and clear hearing — everything is activated. But if you step into any multiverse, you instantly drown in it. It’s as if your personality shuts off, and you become an autopilot zombie. And all people live like this in every world — so many of them, all on autopilot, unaware that their thoughts and feelings are being transmitted to them. They believe these thoughts are theirs. They believe these feelings belong to them. Can you imagine? And the system, which is “Mother of God,” highlights things for me through movies and TV shows that I need to watch. I start immersing myself in a vast number of films and series about virtual reality, simulations, and higher intelligence. And through them, she highlights specific lines and moments I should pay attention to—this is how she gives me answers. She starts showing and explaining it to me through films, especially those about virtual reality. It’s exactly like in the movie “Inception” — a dream within a dream. As long as you remember that the social-material world, the world of people, is a virtual reality, you remain conscious. But the moment you forget this and start believing in the feelings and thoughts being transmitted to you, the moment you start acting on them — you drown and stay there. And this is the test I begin going through. This is the key foundation of my third volume of “Alternative History,” a first-person novel.
Now we will go even further and deeper into analyzing the topic of multiverses. I won’t describe that particular case — it’s already well-documented in the book — about how I started studying the concept of time even more and realized that my books are being written in a different time, as if I am switching to another rhythm, another temporal state. And that even when we, as people, come into contact with certain artifacts or stones, if we feel something emanating from them, if we sense something from sacred places, it is actually just us perceiving a different rhythm, a different frequency than the one we are currently in — that’s why we feel something. I begin to approach this scientifically. I wasn’t alone at home — I was talking with someone that evening during the period when I was working on the third volume. And I encountered a situation where...