Alexandr Korol

of this evidence. And so one of the things that I’m describing is an actual proof. One of the proofs, the explanation that we are in a simulation, is that I have noticed this since my childhood. That there is a face, let’s say my face, it’s as if it has, metaphorically speaking, 100 versions of my face. In fact it has 100 ver- sions. That is, it has 100 facets, my face. Seriously. But each of you is on a differ- ent facet. And it turns out that you’re just... how can I explain it to you? Let’s put it this way: in order to count my face for you visually, psychologically, you need, let’s say, five features of my face, five lines. But the point is that these five lines are also on my face in different dimensions. Some of you are under the 4-4-4 dimension; when you look at my face you only see these five lines, five features of my face, which are in the proportions of your 4-4-4 dimension in latitude and longitude. And it turns out that these lines, only these lines, are empha- sised. And so you see these proportions of my face and you might think that I’m, let’s say, ugly or old. You know what I mean? But another person from the world of 100, when they look at me, the other five features of my face are highlight- ed for them. So no one ever sees all the lines, never sees my whole face. They only see one facet of it. And the point is, I remember – it was very funny, very often people would say to me at the table when I was talking, they would look at me with wide eyes and say, “Wow, your face has changed”. That’s what they used to say to me. Let’s say I’m sitting with you, discussing some stupid film, and suddenly I decide to talk about “space”. As I start to tell you, you can see my face change from one person to another, as if it were physically before your eyes. Can you imagine that? And it’s already a fact. It’s already concrete. And it is one thing connected with another. All this will be proof of how this machine is arranged and how this programme in which we live is arranged. And how it subordinates everything. And it turns out that the house also has 100 features, 100 layers in the facade of the house, just like me, in the face. And which parts of that façade are illuminated depends on which dimension you are in, which multiverse you are in and which frequency you are on. And it’s the same with my face. That’s the paradox. It’s all controllable. And it still confirms that we’re living in a simulation. Because that’s how it works, it’s all already mapped out. And only something specific to someone or something is uploaded to us. But all the variations are already drawn.
It turns out that when you start to become as multifaceted as possible, and to be