Since time immemorial, the history of humankind has been woven with threads of secrets, prophecies, and veiled pacts that seem to defy ordinary understanding. This fascination with the occult is not a recent phenomenon: initiatory societies, encrypted codes, and narratives of behind-the-scenes powers have accompanied the evolution of civilizations, fueling both intellectual curiosity and collective fear of what lies beyond public control. It was precisely at this crossroads that we recently delved into the series “The Dynasty That Changed the World”. This series demonstrated how conspiracies are not myths, but rather feed on real elements that take on a life of their own. And perhaps the topic that brings us here today is yet another example.
In this complex scenario, figures and events emerge that seem to point to the existence of a roadmap designed by hidden powers to shape our destiny. Among them, the case of Steve Jackson’s 1982 card game “Illuminati” stands out as a key piece in this puzzle of global conspiracy.
In appearance, “Illuminati” would simply be just another board game, awarded the 1983 Origins Award for Best Board Game. However, its central theme—world control—and its “predictions” that, with the passage of time, have been fulfilled, raise serious suspicions. What if this game were not just entertainment, but a kind of covert prophecy?
The evidence points to the fact that the creator, Steve Jackson, possessed knowledge that transcended mere fiction. When analyzing the cards, one cannot help but wonder how a simple designer could capture predictions in a game that subsequently materialized into concrete facts. The hypothesis that Jackson belonged to a lodge or that, in some way, he received privileged information, is difficult to dismiss.
In this line, the disturbing suspicion arises that his work was developed with the approval and under the influence of “THEM,” the powers in the shadows who pull the strings of global politics, economy, and society. The publication of the game, if it did not have their consent, would have been made impossible by these same powers in an attempt to maintain the illusion of freedom and chance.
The mystery deepens when it is revealed that, although the game was created in 1982, it was not until 1990 that U.S. authorities—the secret services—raided Steve Jackson’s company. Was this action a false flag act to distract and manipulate public perception? Or simply a maneuver to silence uncomfortable knowledge?
The existence of “Illuminati” and its relationship with predictions that have come true forces us to rethink our conceptions of control and manipulation in modern history. Let’s look at some of the cards he drew.
We begin with a concrete fact: these cards were created in 1982. What is striking—and what justifies this analysis—is that numerous events that occurred decades later seem to coincide, sometimes with astonishing precision, with the situations described or illustrated in the game. With more than 300 cards in the original deck, we will select here only some of the most impactful ones due to their resonance with real-world events subsequent to their publication.
Let’s start with this card, because it is highly representative for getting into the subject. It clearly depicts the September 11 scenario: the Twin Towers and the Pentagon. It is important to remember that this image is from 1982, while the 9/11 attack occurred in 2001. What is surprising is that Steve Jackson, the creator of this drawing, managed to anticipate that event with incredible precision.
In the illustration, the Tower appears broken and about to collapse, which coincides exactly with the reality of September 11. On the other hand, the Pentagon shows flames and damage in its interior, but its perimeter remains intact, just as happened in the attack. This demonstrates that Jackson not only predicted it would be an attack, but also specific details about how it would happen, including the destruction of the Towers and the integrity of the Pentagon’s exterior structure. Furthermore, on the attached card, Jackson points to “Terrorist,” confirming that the image was related to a terrorist act, just as the official version reported.
This detail reinforces the hypothesis that Jackson may have had prior and foreknowledge of both the event and its key characteristics. The accuracy of his predictions—which included the destruction of the Twin Towers and the integrity of the Pentagon building—raises questions about the nature of the information he possessed and the possible sources to which he might have had access. While some consider this to be merely coincidental or the result of subjective interpretations, others argue that these aspects indicate the existence of prior knowledge that warrants deeper investigation to better understand the facts and circumstances of that tragic day.
Of course, to achieve such an accurate prediction, prior information would be necessary. It becomes even more surprising when considering the multiple coincidences and additional details we will examine next, which seem difficult to explain as mere chance.
The following card is not a simple prediction: it is a chilling confirmation that everything was planned. Look closely: in 1982, Steve Jackson was already drawing with surgical precision what was going to happen in the so-called “2020 pandemic.” There is the word “Epidemic,” surrounded by all the elements that were later imposed on us as normal: masks, gloves, hand sanitizer, VACCINES—symbols of control and tracking—mandatory quarantines, and even body bags in the background, as if they knew exactly how the global scenario would unfold.
Most striking, however, is that an illuminated pyramid appears on the bottle illustrated in the card. This symbol is not accidental; the pyramid, in this game, functions as a distinctive mark indicating that the described event is not fortuitous, but something they control, and that it is part of a deliberate agenda managed or orchestrated from certain circles of power.
And even more revealing is the text accompanying this card, which literally says: “Disaster: this is an attack to destroy a place.” An attack? Since when is a supposedly natural epidemic defined as a deliberate attack? No one calls a virus that arises spontaneously an “attack.” But someone who knows it was designed, released, and managed as a weapon does. We know it wasn’t a virus, but graphene oxide.
Right next to it, the word quarantine appears. But what is truly significant is everything under that seal: masks, vaccines, disinfectant gel, body bags—elements with which humanity was not familiar as part of daily life in 1982, until suddenly, they were.
The Center for Disease Control (CDC) card shows the CDC not as a savior, but as a weapon within the game. That is, the CDC itself—the organism that was supposedly meant to protect us—appears here as a source of threat. In the illustration, the viruses escape directly from the CDC, as if the very agency tasked with protecting public health were, in reality, the vector of destruction, the one that contaminates, the one responsible for introducing the weapon into everyone’s body. Coincidence? Or has the CDC always served another agenda?
In relation to the health system, we have the AMA, the American Medical Association. In the image, they are seen hugging and smiling, which conveys a sense of closeness and complicity. They also wear that typical doctor’s badge, evidencing their authority. The interesting part is that a pyramid appears there, and Jackson is making it clear to us that this structure is under their domain.
Then, the card returns with a forceful message: “The A.M.A. can act to protect any Scientific group, or to help attack it, regardless of alignments.” The AMA, which in theory should be there to protect people, now appears as a target of attacks. Everything in these cards is like this: attacks, disasters, devastation.
Let’s look at this other card with a covert prediction of geophysical weapons. In 1982, while the world believed earthquakes were purely natural phenomena, an Illuminati card already described a machine called the “Earthquake Projector” capable of increasing destructive power over specific locations. Simple imagination? No. We know that in later years, the U.S. government was laying the foundations for what would be known as the HAARP Project (High-frequency Active Auroral Research Program). HAARP, officially presented as a “laboratory for studying the ionosphere,” has the same capabilities suggested in the letter: modifying electromagnetic fields to influence the atmosphere, and even the Earth’s crust. The letter is not fiction; it is a warning disguised as a game.
Declassified documents and patents associated with HAARP (such as Bernard Eastlund’s, funded by the defense industry) clearly demonstrate its potential to alter the climate, disrupt global communications, and induce vibrations in the Earth. If a facility in Alaska can heat the ionosphere with high-frequency radio waves, why couldn’t it focus enough energy to destabilize geological faults? The letter from the “Seismic Projector” mentions that it operates “once per turn” to increase its destructive power, which aligns with HAARP’s tactical nature, operating in geological and atmospheric “windows of opportunity.” Earthquakes like those in Haiti (2010), Japan (2011), and Turkey (2023) occurred in areas of tectonic stress, but also during periods of high geopolitical instability. Coincidence? Or the covert use of a technology already described in a video game in 1982?
HAARP was silenced, ridiculed, and sold as “benign science,” while its antennas transmitted energy at frequencies capable of resonating with the Earth’s layers. Today, although the original HAARP site in Gakona has been “closed” (or transferred to the University of Alaska), its principles have expanded to global antenna networks like EISCAT in Europe or SURA in Russia. The 1982 letter wasn’t a prediction; it was an early confirmation that control of the planet no longer depends on armies, but on invisible waves that can shake cities with a click. And what’s most unsettling is that everyone thinks it’s just a game.
Let’s analyze this other card. The illustration shows a scientist observing a tornado and an airplane seeding clouds, which reinforces the theme of climate control.
How is it possible that in the 1980s, when “climate change” wasn’t even being discussed as a weapon, a card called the “International Meteorological Organization” already existed, granting defense and attack bonuses through natural disasters? This isn’t a coincidence; it’s a veiled confession. The game not only predicted weather manipulation, it normalized it as a strategic tool. And today, with projects like HAARP, SURA, and EISCAT operating under the guise of “atmospheric research,” we know that weather control is no longer fiction. This card isn’t a fabrication; it’s the identity card of the elites, who for decades have been playing with tornadoes, droughts, and hurricanes as if they were pieces on a chessboard, and we, unknowingly, are part of the game.
Look at the details: a scientist observing a tornado while a plane “seeds clouds”—why that specific design? Because meteorology is no longer science; it’s silent warfare. The card says you can defend your locations with a +6 bonus against disasters, but you can also attack rivals with a +4 bonus. What does that mean? That disasters aren’t accidents; they’re tactics. When a hurricane hits a country in conflict, or a drought cripples a rival nation’s economy, it’s not “bad luck.” It’s a deliberate move. And this card, made in 1982, told us this before anyone knew it was possible. Today, with satellites, ionospheric lasers, and global climate control networks, the elites don’t need bombs; they use the weather as a weapon. And what’s most disturbing is that they admitted it in a card game. Because the best way to hide the truth is to disguise it as entertainment.
In this other card, he reveals how the moon landing was a hoax. What better way to conceal the truth than to reveal it in a deck of cards? This card is a coded warning. If the original tapes of the moon landing disappeared—almost as if by magic—and Stanley Kubrick, the genius behind 2001: A Space Odyssey and A Clockwork Orange, admitted to staging the event, then it can hardly be considered a historical fact, but rather a carefully orchestrated spectacle.admitted to being in charge of “staging” the event, then it can hardly be considered a historical fact, but rather a carefully orchestrated show. The card says NASA can “give its action token” to other government groups—a perfect metaphor. NASA doesn’t just manipulate space; it manipulates perception, history, and even global political power.
Stanley Kubrick wasn’t just a filmmaker. He was a master of illusion, symbolism, and visual control. Why do you think he chose to shoot 2001: A Space Odyssey with such realistic effects? Because he was already setting the stage for something bigger. Theories claim he was hired by the CIA or NASA to create the cinematic version of the moon landing, since the real technology didn’t exist. And if that’s true, then this card isn’t a tribute—it’s a macabre joke aimed at those who know the truth. The astronaut on the Moon, the flag waving in a vacuum, the pristine lunar module, it’s all there as a reminder. And the fact that the card states NASA can “pass its action token” to other government groups is a perfect metaphor. NASA doesn’t just manipulate space—it manipulates perception, history, and even global political power.
The most unsettling thing about all this is that while the media insists the tapes were “accidentally lost” and scientists deny any fraud. The Moon landing was a staged production—a piece of space theater. And the greatest irony? They admit it using an illustration that looks as if it were taken straight from an official documentary. Why? Because the best way to hide a lie is to repeat it so many times it starts to seem like the truth.
Another very intriguing card: The Great Pyramid as Oracle of the Future. Why do the Guardians of the Great Pyramid have “limited power to foresee the future”? Because, according to the game, the pyramid isn’t a tomb—it’s a prediction machine. The ancient Egyptians didn’t build this monument to bury pharaohs; they built it to align Earth with the stars, store cosmic wisdom, and manipulate the flow of time. The fact that, in the game, you can force your rivals to reveal their first Plot card means the Pyramid has access to a stream of temporal information—it’s as if you could glimpse your opponents’ future, but only a fragment, because the knowledge is partially blocked. Why? Because they know the pyramid was designed by an advanced civilization and that, even today, it emits signals capable of anticipating events.
The Pyramid’s immunity to tornadoes and hurricanes is no coincidence—it’s evidence that it’s shielded by unknown technology or energy. It would function as a geophysical antenna, capable of channeling telluric energy, neutralizing disasters, and influencing weather patterns. If HAARP can manipulate the ionosphere, why couldn’t the Pyramid generate protective fields? The Pyramid’s knowledge is esoteric and fleeting, and its inclusion in the game confirms that it isn’t merely a monument of the past, but a living technology capable of predicting, protecting, and controlling the fate of the world.
A symbolic reading of the graphic representation of Al Gore in another card reveals a clearly ideological intention. The image shows him hugging a tree, explicitly labeled as “Environmentalism.” This design precedes the publication of his documentary An Inconvenient Truth (2006) by more than a decade. The most disturbing element is the inclusion of humanoid eyes inside the tree trunk, suggesting a form of hidden control. The card reinforces the idea that the environmentalist movement is a movement controlled by them.
The most disturbing element from a critical perspective lies not merely in the visual identification, but in the inclusion of humanoid eyes within the tree trunk—whose expression, ambiguous, watchful, and almost sinister, suggests a form of hidden control or symbolic manipulation. The card grants a “+8 bonus to direct control over any green or environmentalist group,” reinforcing the notion that the ecological movement, far from being an autonomous or spontaneous phenomenon, is integrated into preexisting power structures and actively controlled by them.
This symbolic representation anticipates later revelations about the ties between major corporations and environmental organizations. For instance, in 2010, outlets such as Libre Mercado (Spain) reported that Greenpeace received funding from foundations linked to the Rockefeller family and other economic elites. Such connections support the hypothesis that institutional environmentalism functions as a tool controlled by these elites—a mechanism of global governance that channels political and economic agendas under the guise of sustainability.
The card titled “Market Manipulation” constitutes a highly significant symbolic representation. Its iconography depicts a set of scales: one side weighed down by banknotes, the other by the Illuminati symbol. The image suggests that, within the contemporary economic system, power is not measured solely by the accumulation of wealth, but by the ability to control the mechanisms that generate and distribute that wealth—and they control this aspect. The pyramid outweighs money on the scale, implying that they dominate political, corporate, and financial spheres.
This visual symbol reinforces the idea that market manipulation is not an isolated or chaotic act, but rather a systematized process—monitored and managed by strategic actors operating from positions of institutional privilege. We already saw evidence of this in the series The Dynasty That Changed the World.
The card’s text—which allows players to remove action tokens from corporate or banking groups at any time without it counting as an action—corroborates this interpretation: true power lies in the ability to intervene in the system invisibly and unaccountably, shifting economic balance without requiring public justification. In this sense, the card does not merely describe a game mechanic; it functions as a critical metaphor for how real financial power operates in the shadows, cloaked in the guise of market neutrality and efficiency.
The “Flat Earthers” card, with its depiction of a flat Earth map, is not merely a joke or satire about popular beliefs. Rather, it is a deliberately inserted symbolic key, intended to alert the player—and the attentive observer—to the existence of alternative knowledge that has been systematically suppressed by scientific and educational elites. The card’s text—“People laugh, but the Flat Earthers know something”—is not an ironic statement, but a coded warning: flat-earthers possess a fragment of genuine, albeit incomplete, knowledge that has been deliberately marginalized to maintain ideological and technological control over humanity.
That Steve Jackson included this card as early as 1982—when the flat Earth movement was virtually nonexistent in the public sphere—suggests that the game is not mere entertainment, but rather an archive of hidden truths, designed to be deciphered by those who already suspect the official narrative. Public laughter, media ridicule, and intellectual mockery—all form part of a disinformation campaign aimed at silencing what the card openly acknowledges: flat-earthers know something, and that something could radically transform our understanding of the world, space, and power.
We can cite, by way of summary, other notable examples, such as the letter entitled “Third World War,” which describes mechanisms of interstate conflict with destabilizing consequences, a topic already analyzed in previous research such as the series The Dynasty That Changed the World.
Similarly, the depiction of Bill Clinton wearing a dog collar—an image implying subordination to higher-ranking actors—takes on an unsettling resonance in light of contemporary debates about the autonomy of political figures vis-à-vis transnational power structures. Likewise, the card dedicated to Hillary Clinton, published long before her 2016 presidential campaign, raises questions about the strategic anticipation of political roles within global elites.
Other cards address technological themes with striking prescience. For example, one illustrates a woman wearing a neural headset connected by cables, foreshadowing current debates on brain-computer interfaces, graphene-based neural devices, and the potential for reading or modulating thoughts—issues that entered scientific and ethical discourse prominently from at least 2021 onward. Likewise, the mention of computer viruses is remarkable given the historical context: personal computers were still rare, and cybersecurity was a virtually nonexistent concept at the time.
Finally, the recurring presence of symbols such as the eye within the triangle—linked here to institutions like the FDA—or the pyramid associated with drug trafficking reinforces the game’s central hypothesis: that various spheres of global power—health, media, finance, military, and criminal—do not operate in isolation, but rather as interconnected components of a control architecture whose existence is concealed through the fragmentation of public discourse.
In conclusion, it is worth emphasizing that the symbolic universe of the *Illuminati* game—comprising approximately 300 cards—functions as an encrypted prophetic archive, in which numerous elements anticipate or mirror geopolitical, technological, and sociopolitical dynamics that, in many cases, only materialized decades after the game’s original 1982 publication.
Ultimately, we cannot help but ask: Was Steve Jackson merely a game designer, or an unwitting—or perhaps deliberate—instrument of a higher agenda? The evidence suggests we are witnessing yet another instance of a master plan: a roadmap designed from the shadows to steer the fate of humanity. History, much like a card game, may already be predetermined in the hands of those who control the cards of power and knowledge.
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