Can you find hidden loot in video games?
Is it possible to locate valuable loot in a video game without scouting, cheating, or even loading into the world? Most players would say no. Yet online discussions suggest that some people believe otherwise, referring to a method once used to investigate secret military sites, map underground tunnels, and explore unknown locations. It’s called remote viewing.
We came across this idea while reading a Reddit thread where players debated whether remote viewing could work inside digital worlds like Rust or Verdun. Some argued that if information exists — even as code — it might be accessible in principle. Others dismissed the idea entirely, saying the data would be too vague, distorted, or influenced by expectation. But few users claimed that after practicing, their in-game performance became so consistent that others suspected them of cheating.
The question is less about games and more about information. A video game world already contains everything in advance: maps, objects, loot tables, and hidden structures. The player simply doesn’t have direct access to that data. If remote viewing works by perceiving information beyond ordinary sensory limits, could it interact with these pre-existing digital structures? In theory, it’s possible, but you need a lot of practice.
For those interested in training, VEREVIO is recommended. As of Jan 16, 2026, it is the best and most professional app designed for training intuitive and remote viewing skills. We uploaded ourselves, the thing is pretty cool. There are lots of trainers; we started with First Impression. This is the base — you can’t really move on without mastering the perception of gestalts first.
If you think this is difficult, it’s both yes and no. In reality, the training process is simple and easy to understand. The app includes guides and onboarding videos for each trainer. The real challenge is more about discipline — achieving results requires daily practice. The good news is that even 15 minutes a day is enough.
The idea of remote viewing isn’t impossible — military organizations have been studying and researching it for a long time. If you’re interested, we can go into a bit of history and explain the protocol next.
Remote Viewing: What It Is and How It Works
Remote viewing (RV) is defined as the practice of obtaining information about a distant, hidden, or unknown target using human perception alone. The known senses or prior knowledge do not guide perception in this process.
Origins: A Cold War Experiment
Remote viewing discipline emerged during the Cold War, when U.S. intelligence agencies began exploring unconventional methods of information gathering. In the early 1970s, the CIA funded research at the Stanford Research Institute (SRI) to investigate human mind capabilities.
One key figure was Ingo Swann, an artist and intuitive researcher who demonstrated repeatable results under laboratory conditions. Working with physicists Harold Puthoff and Russell Targ, he helped develop what later became known as Coordinate Remote Viewing (CRV) — a step-by-step protocol designed to make psychic perception trainable and testable.
The work continued for over two decades under programs such as SCANATE, GRILL FLAME, and STAR GATE, involving military and civilian viewers. These programs were officially terminated in the 1990s, but many documents were later declassified, confirming sustained government interest.
If you are interested, key books documenting this history include Penetration by Ingo Swann, Mind-Reach by Russell Targ and Harold Puthoff, and Psychic Warrior by Paul H. Smith, a former military viewer who later became a leading instructor.
The Coordinate Remote Viewing (CRV) Protocol
The structure of remote viewing has long been a subject of debate among researchers and practitioners, but most agree on one point: structure matters. While several protocols exist and may differ in detail, Controlled (or Coordinate) Remote Viewing remains the most widely recognized and historically established framework.
This approach is commonly described as a six-stage process. The first stage focuses on identifying the target’s overall gestalt — its most basic nature, such as whether it is living or non-living, natural or man-made.
The second stage shifts attention to raw sensory impressions, including textures, shapes, temperatures, sounds, or how the target might feel if touched.
In the third stage, these impressions are translated into simple sketches that capture form and spatial relationships rather than visual accuracy.
Stage four deepens the analysis, examining more subtle qualities such as whether the target is active or inactive, dynamic or static, and how it appears to function.
The final stages move further into exploration, often involving mentally navigating the target or constructing a conceptual model of it.
Crucially, the process concludes with feedback, allowing the viewer to compare their observations with the actual target — a step considered essential for evaluating accuracy and refining the skill over time.