#incomprehensible cosmic experience??

[valtsv]

an angle i enjoy in cosmic/eldritch horror is when, instead resorting to the old classic "the horrors being so incomprehensible that they break your brain and drive you mad" cliché, the premise is that in comprehending the horrors you are so changed by the experience that your new state is indistinguishable to an outside observer from madness. you comprehend the unknowable just fine, but actually communicating that to anyone else is impossible because they just don't have the mental framework required to understand it. the eldritch horrors don't drive you mad. what does is the ordinary everyday horror of finding yourself isolated, ridiculed and doubted at every turn, no matter how hard you try to make yourself heard and understood.

[xnoctua]

🪶🦴🦋

[literaryvein-reblogs]

Writing Notes: Horror

Horror is a genre within creative writing that relies on one thing: instilling a sense of fear in the reader.

The horror genre is multifaceted—there is a kind of horror for every kind of person.

For some, the most effective scare is the idea of being trapped in a haunted house. For others, it’s being chased by a serial killer on Halloween.

Some of the best horror comes from scary things that can manipulate an audience’s feelings, creating a sensation of uneasiness and fear that stretches beyond consciousness and permeates deep within the psyche.

Horror writing is sometimes categorized within the broader category of thrillers, but not all horror follows the thriller structure.

Classic horror fiction—whether expressed as a novel, novella, short story, or film—will tap into topics that reliably frighten most humans.

Common topics include ghosts, werewolves, vampires, zombies, serial killers, murderers, and the fear of the unknown.

These horror tropes can often devolve into clichés.

A downside of horror’s popularity is that many horror books and movies recycle old content in non-creative ways, but when properly executed, horror stories can thrill audiences and even provide commentary on the human condition.

Horror Subgenres

1. Apocalyptic - In this subgenre, the world is ending or society is collapsing. When this happens, it’s usually because of some creature, demon, or religious event (while climate-oriented apocalypses are more sci-fi).

2. Body Horror - Involves the mutilation, experimentation, or violation of the human body. It can focus on disease, dismemberment, infestation, sexual acts, or a complete transformation of the physical form.

3. Comedy - Horror and comedy seem so at odds with each other, but they work so well together (kind of like spice and chocolate). A trademark of comedy horror is how the protagonist somewhat stumbles through the story, arriving at the end through luck and ridiculous happenstance rather than skill or growth.

4. Cosmic/Lovecraftian - With its origins largely attributed to H.P. Lovecraft, cosmic horror makes us feel small against a threat that is ancient, massive, and incomprehensible. Cosmic horror looks at intergalactic entities, ancient gods, the machinations of the universe, and how helpless we are against it all.

5. Dark Fantasy - Another crossover, this time with the fantasy genre. In dark fantasy, you have elements of magic, fictional creatures or worlds, and everything else that makes fantasy great, plus you add in a good dose of scares. This can also involve other subgenres, like body horror.

6. Dark Romance - Another crossover genre, dark romance takes the feel-good romance genre and makes it horrific. While this subgenre can simply include morally questionable characters and a grittier tone than most romance, it can also include kidnapping, forced confinement, BDSM, psychological and physical abuse, and sexual violence or sex where there is no consent. Bear in mind that it still needs to include the tenants of romance stories, though.

7. Extreme Gore - Not for the faint of heart, this subgenre includes books that have detailed torture scenes or otherwise disturbing and depraved acts. This genre is all about shocking your audience with how awful your characters act or are treated.

8. Folk Horror - Embraces urban legends and folktales. These range from old pagan gods in the woods to weird rituals performed by isolated groups or villages. Sometimes there is a supernatural element to them, even if the “supernatural” is simply perceived or believed by some characters (e.g., Midsommar).

9. Found Footage/Documentaries - Though this subgenre is more common in films than books, found footage and documentary horror stories are about a crew of people recording their experiences, usually unaware of the true danger they are about to face.

10. Gothic - The great-grandparent of modern horror, gothic horror is the brooding, atmospheric genre containing what most of us would consider classics (e.g., Dracula and Frankenstein). Sometimes you throw in a dash of romance, but these tales tackle topics like death and mortality.

11. Post-Apocalyptic - After some world-ending disaster, how horrifying have things become? Post-apocalyptic horror shows us a world without rules or structure. It can contain unrealistic elements (zombies, demons, etc.) or realistic possibilities (cannibals, gangs, and so on).

12. Psychological - Places the spotlight on trauma, mental health, manipulation, phobias, and everything else that causes you to become stressed and anxious. Home invasion stories (i.e., The Strangers) fall under this subgenre.

13. Slasher - Involves violent horror that is more about a single killer stalking and eventually killing a group of people (traditionally targeting teens and using a blade). This subgenre isn’t necessarily as violent or gory as others, but uses suspense to make the reader hold their breath.

14. Splatterpunk - Is known for its disregard of limits when it comes to violence—both physical and sexual. Gore and depravity are grossly abundant.

15. Supernatural/Paranormal - Some folks separate these two subgenres into different categories, but there is so much overlap that they’re basically the same. If you have to, think of supernatural horror as stories that involve werewolves, witches, vampires, and other monsters. Paranormal horror, on the other hand, involves ghosts, demons, and haunted houses.

Tips for Writing Horror

1. Read more horror. There’s no better way to understand what a good story looks like than to read one for yourself. Read as much as you can so you are aware of what other horror writers are doing.

2. Focus on your own fears. Much like comedy, horror benefits from authenticity. So get personal: If you can scare yourself, you can probably scare an audience.

3. Create three-dimensional characters. Write characters whose character flaws feed the action of the story. All good literature and film contains well-wrought characters with desires, emotions, and a backstory. The more human you make the characters of your story or screenplay, the more their missteps and bad choices will resonate with an audience.

4. Recognize that the real can be scarier than the surreal. Sure, you can make up an army of googly-eyed bad guys or plant a severed head in your main character’s bed, but will you really scare your reader? Not necessarily. In most cases, psychological horror sticks with audiences far longer than a jump scare or gross-out moment in a slasher film. Toying with people’s real-life fears tends to scare them much more than just grossing them out.

5. Use the environment. Scary movies and television shows can use jump-scares as an easy way to frighten an audience, but writing scary literature requires its own method of manifesting fear. Setup your environment in a vivid way to fully immerse your readers into your setting. Vividly describing an enclosed space can elicit feelings of claustrophobia. A dark and quiet house becomes more frightening when a character suddenly hears the creak of an upstairs floorboard. Being an outsider in an unfamiliar place, like a small town with no cell phone service and where everyone knows each other, is already unsettling—and if you add a malicious paranormal force to such a setting, you can enhance the feeling of isolation and ramp up the anxiety of the scenario.

6. Write longer sentences. You can heighten your readers’ fear by writing paragraphs with longer sentences. Periods provide natural pauses for readers to take a breath, but if you stretch out your sentences, you build anticipation for the reader—which they might not even realize until they reach the end of the sentence. By using tactics like this, you immerse the reader into your horror story, making them feel what the main character feels and creating a heart-pounding connection.

7. Make your readers breathe faster. Whereas long sentences can amplify the intensity of a story, short one-sentence paragraphs can force your readers to take more frequent breaths while following your narrative. Crafting abrupt lines builds tension in your scary story writing, making the readers’ eyes move more quickly down the page searching for the relief that the protagonist is safe. This can make your audience breathe faster, contributing to the feeling of panic and anxiety.

8. Leverage fear of the unknown. Fear of the unknown is a common theme that can be tracked throughout many of the best stories in horror fiction and horror movies. When there is something that negatively affects us that we cannot control or properly identify, it creates a feeling of panic and dread. Teasing your readers with something not quite definable or a bad guy no one knows how to stop can increase the level of tension and fear when writing horror stories.

9. Lean into dark imagery and your readers’ collective imagination. Consider what images might be frightening to a reader (and yourself). How much of a description of a clown do you need in order to make a reader feel uneasy? How large and grotesque does a rat need to be? Leaving some of these images more general than specific will allow a reader to fill in the blanks with what is most horrifying to them. Example: If you read the word beast, what do you see in your imagination? Most words carry connotations and personal connections. Allow your words to work for you to create the maximum scare.

10. Want tension? Sprinkle in some foreshadowing. Foreshadowing is a powerful tool in your writing arsenal, but it is particularly effective in horror, especially when writing in third person. Foreshadowing is when an author alludes to a future event by showing us something now. The key to foreshadowing is to use it sparingly. We want to up the tension and the fear our readers are experiencing while they yell at the oblivious protagonist not to open the door. We don’t want the reader to know every single thing that’s going to happen. 

11. Focus on the moment where things shift. You should consider a pivotal scene in your story idea and try to build around that scene or that moment where the plot actually “shifts.” Sometimes that could be reflected in a realization by the protagonist. Other times it can be represented in some type of ironic twist at the end. By looking at that singular element of your story idea, you cut away the fat so that the reader is left only with the most resonant part of the story.

12. Establish the mundane. Mundane is just a fancy way of saying normal, but the message still rings true. Most story structures tell you to start by establishing the Ordinary World: what our protagonist’s normal life is like. This is important for showing us how important the larger conflict is, because it threatens the protagonist’s normal. In horror, establishing the mundane is arguably more important. In a story where connecting with the character and empathizing with them over the godawful stuff you, the author, put them through, the reader needs to understand just how bad life has gotten. Then you can take both your characters and your reader from a place of comfort and familiarity and plunge them into whatever shadowy hell you’ve concocted.

13. Choosing your POV. By choosing to write your story from a first-person perspective, you are putting the reader exactly where your character is. There are 2 types of third-person POV—limited and omniscient. It is advisable to stay away from omniscient. Part of writing a good horror story is withholding information from the reader, which third-person omniscient doesn’t really allow for. Considering the pros and cons of the different points of view, choose the right one for your story.

14. Avoid clichés. Clichés are boring and predictable, and a horror scene that is predictable is likely to not be scary. A good horror story can still use familiar horror tropes, but a great horror story makes them its own. Look beyond the obvious when trying to write a scary scene—what is something readers wouldn’t expect? How can you surprise them with fear? Use enough of the existing tropes to be identifiable as horror, but make sure you insert your own originality into the mix. One of the reasons people gravitate to genres in general is because they have certain expectations for what should happen in the story. Look for ways to flip archetypes on their heads.

15. Practice. If you’re struggling to get a handle on writing a good story that’s scary, practice with story prompts (see some sample prompts below). Writing prompts can expand your range of thinking and open up new avenues of imagination that you hadn’t thought of before.

Horror Writing Prompts

A scary doll comes to life.

A scene from a nightmare comes true the next day.

Days go by, and your parents don’t come home.

You feel yourself slowly becoming a monster.

Your friends start to disappear, and no one else notices.

You’re lost in the woods, and you don’t know how you got there.

You’re inhabited by a ghost that controls you and makes you do crazy things.

You have no reflection in the mirror.

The teacher is a monster, but no one will believe you.

You hypnotize your brother, and you can’t snap him out of it.

A fortune teller reveals that you are evil.

Someone follows you home, and it’s your exact double.

You find a diary that tells the future.

Every time you wake up, you’re a different person.

Your parents explain that you are actually an alien from another planet.

You know someone is watching you day and night from the house across the street.

You realize you are shrinking.

While reading a scary book, you realize that you’re a character in it.

Someone is living in your mirror.

Everyone knows the new neighbors are vampires, and the kids invite you over for a sleepover.

All the cats in a small town vanish in the middle of the night….and all that remains is a set of big, scary teeth smashed into a car door.

A group of friends takes on the zombie apocalypse.

Strange things start happening after the grandfather clock starts to speak.

You finally meet your child’s imaginary friend. Who turns out to be a serial killer.

When a local police officer goes to investigate the haunted house down the street, he finds a young girl who died decades ago.

Sources: 1 2 3 4 5 6 ⚜ Writing Notes & References

[thorough-witness-enjoyer]

(Small, frivolous rant incoming, apologies)

One thing I wish the Destiny fandom did more of was dabble in the utter horror this universe holds, especially when it comes to portraying the vile atrocities committed by many of the cosmic level characters.

Destiny‘s T rating holds it back so much in my opinion (but it still manages to lay down excellent foundations for horror and more mature themes!!) and I really wish there was more fan works that explored the unimaginable tragedies that occur in lore!!

When you really dwell on the scale of many of the disasters that happen in lore, it really dawns on you just how sinister and monstrous many of the larger villains are. Antagonists like Eramis are much more grounded, certainly not saints though, but some of the antagonists we have encounter are truly odious in their behaviors, even if they are deluded into thinking what they are doing is correct (like the Osmium siblings ravaging whole star systems in pursuit of the sword).

For example, it’s no secret that I LOATHE the Witness like no other. This wicked entity has me fighting bile at the mere thought of it and I truly think the way it delivers cruelty with such a sense of compassion and righteousness to be the most stomach wrenching form of being baneful. I could not think of an entitlement more deplorable than the Witness‘ and it’s existence is a travesty that has caused irreparable harm that spans EONS.

Yet, in my experience, I never see much content that taps into the horrors experienced by those touched by the Witness and its pawns, such as the Noesis and humanity during the collapse. There are INCREDIBLE artistic and written works that tap into the psychological horrors of exos and the unethical hell Clovis was putting people through, but not as many on the more cosmic horrors from what I have seen!!

This may just be a me thing and the personal reasons why I want the Witness put under a hydraulic press speaking, but I often see plenty of depictions of the Witness being uncharacteristically soft and having deeper feelings towards its disciples, but works about its vengeful rage, simple mindedness, violation of the autonomy of others, and predatory grooming are quite barren.

I wish to see just how HEINOUS it is displayed in all its turpitude and how it leaves a festering rot on everything and everyone it touches. I love the Witness because it is so evil in it‘s actions and my heart SINGS any time I see people tap into the trauma it causes, especially for characters like Rhulk or Savathûn!!

There is so much room for exploring just how vast the Destiny universe is when you decenter perpetrators in stories and focus on the incomprehensible number of victims.

Destiny genuinely has a character running around with the title „The Final God of Pain“ haunting people and refusing to permanently die, but there is only so much a T rated game can do and I feel like Destiny enjoyers can go beyond what’s in game in such creative ways!! Just thinking of the fall of Torobatl has me going „Wow, I’m actually so sick to my stomach, I need to honor Caiatl and really capture the pain of such an event!“

The latest lore on the Qugu? My chest HURTS.

Some of the hive experimentations? The hive in general? Hell is not hot enough for what the Witness lead them into.

But you know what they say, be the change you want to see in the world! Create the content you want to enjoy and promote the content you do enjoy!! I wish to dabble into the darker areas of lore, and of course, promote Witness hatred any chance I get!! Hopefully I get more time to write about these things and really value the work the Destiny writers have put into portraying such strong feelings of loss time and time again!!

And also!! PLEASE PLEASE PLEASE read The Garden‘s Witness by Titanmaster_117 !!! ESPECIALLY THE FIRST CHAPTER, I COULD RANT ABOUT THIS BEAUTIFUL PIECE OF PROSE ALL DAY, IT GENUINELY MADE ME CRY!! PROMOTE THE CONTENT YOU ENJOY ALL DAY, EVERYDAY!!

But this is just something I’ve been thinking for some time now. This isn’t condemning anyone in the fandom or saying there is an issue, just a desire I would love to see (and hopefully fulfill if I ever get back into writing for Destiny!) If you guys have any recommendations for Destiny works that are horrific, focus on themes of loss and devastation, or hate on the Witness, feel free to mention them so other people can find them!!

Not enough Witness hate going around for my liking… this looks like a job for me.

[s-soulwriter]

Twist for your story

Ever wondered why a well-crafted twist is crucial in a story? It's like the element of surprise that keeps you engaged, challenges your expectations, and ultimately makes the narrative memorable. A great twist is the heart of intrigue in storytelling. Here are some you can use!

The Sentient Object: Twist: An ordinary object, like a book, a mirror, or a piece of jewelry, is revealed to be sentient and possesses its own consciousness. It becomes a key player in the story, guiding or manipulating the characters.

The Collective Memory: Twist: A group of characters, seemingly unrelated, share a mysterious collective memory or dream that connects them in unexpected ways. They must work together to decipher the meaning behind these shared experiences.

The Language of Magic: Twist: Magic in your world is governed by a unique language or code. As the story unfolds, characters discover that the language itself is sentient and can influence events and outcomes.

The Eldritch Revelation: Twist: Characters stumble upon ancient texts or artifacts that contain forbidden knowledge about cosmic horrors or eldritch beings. The revelation of this knowledge threatens their sanity and forces them to confront incomprehensible entities.

The Mythical Betrayal: Twist: A character believed to be a mythical hero or savior turns out to be the story's true villain, deceiving everyone around them. The actual hero must rise from obscurity to confront this unexpected antagonist.

The Reverse Time Travel: Twist: Instead of traveling to the past or future, characters unwittingly bring historical or future figures into their present. They must adapt to the challenges and paradoxes this brings, all while trying to return these displaced individuals.

The Living Ecosystem: Twist: The entire world or ecosystem of the story is revealed to be a living, interconnected entity, and the characters' actions have profound consequences on its well-being. They must make choices that protect or harm this sentient world.

The Forgotten Prophecy: Twist: Characters initially believe in a well-known prophecy, only to discover that the true prophecy has been hidden or forgotten, and its revelation drastically changes the course of their journey.

The Inverted Morality: Twist: A society where good is evil and evil is good is introduced, challenging characters' beliefs and forcing them to question their own moral compasses.

The Quantum Reality Shift: Twist: The story shifts between multiple parallel realities or dimensions, and characters must navigate the complexities of these shifting worlds to achieve their goals.

The Manipulative Reader: Twist: It is revealed that a character within the story has the ability to influence the actions and decisions of the other characters, essentially "writing" the story's plot from within.

The Protagonist Swap: Twist: Midway through the story, the perspective switches from the original protagonist to a secondary character, offering a fresh viewpoint and challenging readers' assumptions about the narrative's focus.

[gallusrostromegalus]

AEIWAM: Why DOES the God Machine decay, anyways? It's operating outside of time and space. For that matter, I have Other questions about it. Why does it generate existence in the first place? Does it change its composition over time? Does it communicate with others like it? Did someone make it?

Strictly speaking, there is no reason for life to exist, here or in the fic. This is all just a very fun accident. Life exists in the 4 dimensions we're familiar with not because there is a reason FOR life to exist, but because there is no particular reason for life to NOT exist. I think it's the same in twelve or two hundred forty-seven dimensions. There's no reason for life to NOT exist outside of our understanding of time and space, so there's not particular reason to think it does not exist.

So the life machine exists, not because it was made, but because there is no reason it should not exist.

One thing that does seem to be true across different dimensions (and by "dimensions" I mean "measurable spectrums in which reality can exist", not "Alternate universes") is that death, or at least, entropy *does* exist. The universe we live in will eventually experience heat death. Time unravels under specific conditions and indications are that those conditions will eventually become dominant. All things, even the laws of physics, eventually die.

So the Life Machine dies, because for some reason, all things do.

...But also Things are born for no particular reason.

The big bang happened for no particular reason other than nothing was stopping it (kind of literally). Some people think that the universe will not experience heat death at all, but a dimensional collapse that crushes it all back together, before it explodes again, like a cosmic inhale and exhale.

Perhaps the Life Machine is not dying at all, so much as this version of it is reaching the next phase of it's life cycle, and it departs it's mortal coil not for oblivion but it turns to goop to reform into a body measured in entirely different dimensions.

Which is a bit of an upheaval for its microflora.

The Life Machine generates life in the same way you and I 'generate' the conditions of our intestines that support bacteria. If you ask most people, they do not think their primary purpose in life is to play host to billions of microorganisms, but that is very much something we do, and depend on.

Likewise, the Life Machine is misnamed, because it's got purpose beyond human understanding, like how humans have purpose beyond the understanding of eyelash mites. It's doing it's own thing, we just live here. but if all our microflora and fauna were to leave, it'd be a major problem for us, and if all life were to stop, it'd be a problem for the Life Machine.

In the Tarot, "Death" symbolizes change, and the Life Machine is Dying in the sense that it's definitely changing. Whether that change is the change from caterpillar to butterfly or from whale to whalefall is beyond the comprehension of Mortals, or even things like The Soul King.

Soul King's job is to keep the souls alive through this, and they achieve this by exploiting the fact that this change is also when the Life Machine reproduces. Regardless if the current Life Machine becomes a butterfly or a corpse, it's offspring will have suitable conditions for life to continue. Maybe this is a gift form parent to child- the life machine passes her internal flora to her offspring like a mother transfers her own colonies and antibodies to her child via colostrum. Maybe the Life Machine isn't thinking of it's offspring at all and this is all just the machinations of the parasites to propagate themselves into a new host for the sake of future generations.

Either way, neither action is planned or designed, but are still acts of love from a parent to child. Woman and Nematode alike loves her daughter.

TL;DR: As Above, So below, in the gooeiest and most incomprehensible but deeply loving way possible.

[talonabraxas]

Brahman Sat-Chit-Ananda (Truth-Consciousness-Bliss) Talon Abraxas

At the core of yogic philosophy lies the concept of Brahman—the ultimate reality and the source of all existence. The transcendent goal of yoga is to experience the oneness of Brahman—the ultimate reality, the absolute and eternal truth that underlies the universe and all of existence. Exploring the multifaceted meaning of Brahman provides an opportunity to delve into the deep philosophical and spiritual aspects of yoga, contemplate the mysteries of the universe, deepen your spiritual practice, and connect with something greater than yourself.

Disclosure: This post may contain affiliate links. If a purchase is made through these links, we may earn a commission at no extra cost to you. Your kind support helps us create more mindful articles!

What is Brahman?

In Indian philosophy, Brahman is the ultimate reality, the supreme, unchanging, and eternal essence of the universe. The term “Brahman” is derived from Sanskrit, meaning “to swell, expand, grow, enlarge.” Brahman is beyond human comprehension as it is beyond the limitations of time, space, and individual identity. It is considered to be the absolute, formless, and all-pervading cosmic power that is the source and sustainer of all existence. It is described as the essence of truth, consciousness, and bliss that remains unchanged, yet serves as the cause of all changes in existence.

As the supreme reality, it is recognized as the source of all existence in the entire universe. The unchanging, infinite, immanent, and transcendent reality forms the divine ground of all matter, energy, time, space, being, and everything beyond your experience. It is the origin and the end of all things, the very fabric of reality, and the fundamental principle that sustains the cosmos. Every entity and phenomenon in the universe, whether material or spiritual, emanates from this Brahman, exists within it, and ultimately merges into it.

In the Chandogya Upanishad, one of the oldest yogic texts, uses the metaphor of a clay pot to explain the concept of Brahman. Just as clay is used to make many different types, forms and shapes of pots, Brahman is the substrate that manifests in various forms and shapes in the universe. The clay (Brahman) remains constant and unchanging, while the pots (the various forms in the universe) are impermanent and transient.

Nirguna Brahman and Saguna Brahman

Brahman can be conceptualized in two different ways. Nirguna Brahman refers to the formless, attribute less aspect of Brahman, while Saguna Brahman refers to the aspect of Brahman that is imbued with qualities and attributes.

Nirguna Brahman is often associated with the concept of Advaita Vedanta, a philosophical school that emphasizes the non-dual nature of reality, asserting that Brahman is the only true reality and that all distinctions are ultimately illusory. It is pure consciousness, beyond the realm of dualities such as good and bad, right and wrong.

Saguna Brahman is the personal aspect of the supreme cosmic principle that manifests in the world with attributes and qualities. It is often associated with the concept of Bhakti Yoga, a spiritual path that emphasizes devotion to a personal deity or form of the divine. In this aspect, Brahman is seen as taking on various forms and qualities in order to interact with devotees on a more personal level. While Saguna Brahman includes attributes and is perceivable by human senses, it should not be mistaken for a deity in the traditional sense. Instead, it represents a human conception of the Infinite, a way for the human mind to comprehend the incomprehensible.

Both Nirguna and Saguna Brahman are considered valid conceptualizations of the supreme cosmic principle within Indian philosophy, with different schools of thought emphasizing one aspect over the other. The ultimate goal of understanding Brahman is to realize its true nature, which transcends all dualities and distinctions. By contemplating both the formless, attribute less nature of Nirguna Brahman and the personal, manifest aspect of Saguna Brahman, individuals can deepen their understanding of the divine and its role in the universe.

The Connection Between Atman and Brahman

The Atman-Brahman relationship is one of the fundamental tenets of yogic philosophy. Atman, interpreted as the individual soul or self, is seen as the microcosmic reflection of Brahman. According to Vedanta philosophy, Atman is not separate from Brahman, but an extension or manifestation of it. The individual self, or Atman, is often described using the analogy of a drop of water from the ocean – distinct in its individuality yet inherently connected to the vast expanse of the ocean itself.

Advaita Vedanta posits that Atman and Brahman are identical – the personal and universal selves are the same. This non-dualistic perspective, encapsulated in the Mahavakya (great saying) “Tat Tvam Asi” (That Thou Art), suggests that the individual soul is not separate from the Absolute Reality. Instead, it is Brahman itself, cloaked by ignorance or Maya. Realizing this profound oneness, transcending the illusion of duality, leads to Moksha or liberation, an essential goal in the path of yoga.

This non-dualistic concept is eloquently captured in the profound Vedic statement “Aham Brahmasmi,” meaning “I am Brahman.” The individual soul is seen as a microcosmic reflection of the macrocosmic absolute, suggesting that your true identity is not the transient physical form but the eternal, unchanging Brahman. This realization paves the way to liberation and union with the divine.

Brahman as Sat-cit-ananda (truth-consciousness-bliss)

While Nirguna Brahman is attribute less, it is often described using the attributes Sat (Truth), Chit (Consciousness), and Ananda (Bliss). Sat represents the aspect of Brahman that underlies all existence, the eternal and unchanging reality that transcends the temporal and illusory nature of the world. Cit signifies the pure consciousness that pervades all beings and is the source of all awareness and intelligence. Ananda points to the intrinsic joy and bliss that is inherent in the realization of Brahman, the ultimate goal of spiritual seekers.

These are not attributes in the conventional sense, but pointers to the indescribable nature of the Absolute Reality. Understanding these three attributes helps seekers comprehend the essence of Brahman and its implications for individual spiritual growth and enlightenment. By meditating on these attributes, practitioners aim to transcend the illusion of the material world and experience the ultimate reality of Brahman.

Brahman hidden by Maya (Illusion)

Maya is the cosmic illusion or veil that obscures the true nature of Brahman, causing individuals to become attached to the material world and ignorant of their true spiritual nature. This illusion fosters the misconception of duality, making you believe that you are separate entities existing independently in the physical universe. This false perception, akin to confusing a rope for a snake, results from spiritual ignorance (Avidya).

To overcome Maya and Avidya and realize the true nature of Brahman, one must cultivate self-awareness, spiritual knowledge, and detachment from the transient aspects of existence. By transcending the limitations of the ego and recognizing the unity of all creation, one can experience the divine essence of Brahman within themselves and in all beings. This realization brings liberation (moksha) from the cycle of samsara and leads to ultimate enlightenment and union with Brahman.

Moksha: Liberation from Samsara

Moksha signifies the Atman’s liberation from the cycle of Samsara and the realization of its oneness with Brahman. It is the ultimate goal of yoga, the state of absolute bliss and peace. Moksha is attained when the individual soul sheds its illusion of separateness, incited by Maya, and realizes its true nature, Brahman. This realization is not intellectual but experiential, a state of being where one experiences the truth of the Mahavakya, “Aham Brahmasmi,” meaning “I am Brahman.” Upon achieving Moksha, the individual soul merges with the supreme reality, Brahman, marking the end of the cycle of birth and rebirth. The soul, free from all limitations, resides in eternal bliss and peace.

Yoga practices to experience the oneness of Brahman

To experience the oneness of Brahman, one can engage in various yoga practices that help in transcending the limitations of the individual self and connecting with the universal consciousness. Through these practices, one can quiet the mind, purify the body, and cultivate a deeper awareness of the true nature of reality. Through dedicated practice and devotion, one can awaken the divine spark within and realize their true nature as a manifestation of Brahman. Choose a path that resonates with your inner being and commit yourself fully to the journey of self-discovery and spiritual growth.

[omnipresentotherness]

Something that sometimes makes me question the validity of my alterhumanity is that my otherkin experience isn’t a ‘was’. It’s distinctly an ‘is and/or will be’, my cosmic, incomprehensible self is a present and a future rather than a past, I am an Egg, a [redacted] waiting to be born, watched over by the Unknown and xir transcendent self. Has anyone else in this community ever experienced such a thing?

[jessaerys]

experienced a bout of cosmic awe/horror just by staring at the regular sun with my eclipse sunglasses in my own home. i was just testing them but to actually see the shape of it felt feverishly wrong. like. i should not be able to do that. in fact this is the very first time in my life i am defying my own ephemeral & perishable inignificance and looking upon the face of that which has brought upon all life and which will eventually take it all away. what a kantian beautiful & sublime experience. my god it's full of stars and all that. does anyone ever think about the unfeeling uncaring incomprehensible ball of pure energy of which we are but a mere byproduct. how it nourishes us and kills us with the same hand and it doesn't even know it. how every single day it is right there and we accept with hubristic indifference that we cannot gaze upon it and survive unharmed. why must a god be sentient and loving and beg us for belief so that he be made real. is it because the one we can feel is too terrifying and unfathomable. i feel like lovecraft in brooklyn

[geistundmaterie]

Phenomenology of Mammon

Either what I’m about to write doesn’t make any sense and I’m slowly spiralling down into a state of madness, or I have managed to see the true essence of Mammon.

When one is fascinated by a certain character, it does not happen by a mere accident. Your unconsciousness responses to the seen images with different intensity, some things appearing especially meaningful to you. This text is not an analysis of the obvious allegories that were put into Mammon’s concept. Instead, I attempt to explain why his design and everything related to him “goes hard” and fascinates many at an irrational level.

Clowns and the Transcendence

Mammon is a clown and this fact is meaningful in itself. In human cultures across the globes, the universal transcendental reality is broken down into various local forms. Thus, "truth is one, the sages speak of it by many names". In other words, material reality consisting of concepts and forms is finite. By relying solely on it, one loses some of the possibilities that exist beyond the rational association with the world.

A symbol gives access to the deeper layers of existence which are otherwise inaccessible. For example, the rationally incomprehensible can nevertheless remain expressible in the artistic image. A clown, in turn, is the ultimate symbol of the symbolic expression in itself, as seen in its performances or playing of a role. It is an articulation of a desire to escape the human cerebral way of thinking. Clown’s intuitive trickster nature allows it to access the realm of existence that go being the conventional categories of reason. It exemplifies how a wordless intuitive artistic expression can compensate for the deficiencies of a language. Clowns playfully engage with the reality and lure us into a region of the spirit beyond any material or societal creeds. Thanks to their silly form, clown embodies a statement that point beyond themselves into the realm of everything instinctive and irrational.

In a letter to comedian George Carlin, Byrd Gibbens, a professor of English at the University of Arkansas at Little Rock, wrote about the significance of the trickster in indigenous myths:

Many native traditions held clowns and tricksters as essential to any contact with the sacred. People could not pray until they had laughed, because laughter opens and frees from rigid preconception. Humans had to have tricksters within the most sacred ceremonies lest they forget the sacred comes through upset, reversal, surprise. The trickster in most native traditions is essential to creation, to birth.

Balancing between Chaos and Order

The Helluva Boss’ merch of Mammon depicts him in a dynamic and balancing pose. Any good clown is always balancing between chaos and order, not falling into the extremes of both.

One thing those depictions of Mammon instantly remind me of is the World tarot card. It usually represents the archetype of completion, achievement, fulfilment, sense of belonging, wholeness, harmony. This card has a dancing figure at the centre. The figure is constantly in motion, but it moves harmoniously, calmly balancing between opposites. Its expression of unity and fulfilment is eternal yet dynamic rather than simply static. One feels the cosmic rhythm and participates in it. There are four figures on each corner of the tarot card, representative of the four corners of the universe, the four elements, and the four evangelicals. Together, they symbolize the harmony between all of their energies. And all of them are is the dancer’s control. Mammon, in return, has four hands.

In fact, it is not a mere coincidence that The Fool and The World tarot cards both have a dynamic yet balancing figure at their centre: this state is the beginning and the end of all being, starting with unconscious wholeness and moving to its conscious experience. The clown is the perfect synthesis of Apollonian and Dionysian drives: it is a whim that has gained form and purpose. A repressive (Apollonian) society needs a mediator between it and a Dionysian element, a safety valve through which one can give a symbolic satisfaction to the antisocial tendencies. Without the latter, human life is misbalanced. One must experience what Friedrich Schiller called the play drive. It unites the infinite and the finite, instinct and reason, and life and form in the human experience. In order for the play drive to effectively mediate between the body and the mind, humans must develop passivity, practise intuition, and open up to the universe. They also need to practise using reason and active stance towards the world. When both are accomplished, a person can experiences a balance between two polar opposites of being at once; they feel themselves as ever-changing matter and come to know themselves as an eternal mind.

Artistic expression results from the balance and union of two opposed principles of rational and irrational. By being like a clown and engaging with life in a playful, symbolic way, you transcend yourself and become fully human.

Taken from the Shark Robot merch store, Twitter: zllm6

Spider Web and Mandala

Mammon is a spider demon. His territory is packed with spider web visuals, including “the lounge” he sits at during the performances. Spider webs are an unconscious but a meaningful creative phenomena, a beauty that is produced by an instinct. They also bear a striking resemblance to mandalas.

Mandala can be found in all the ancient cultures and is a symbol of life’s innate interconnection and of the Self, a unification of the conscious and unconscious life of the individual. In terms of one’s inner world, it represents the inherent order of the soul in centre of which resides the God itself. A centre that unites all polarities and contains the essence of all that emanates from it. There is no linear evolution; there is only a circumambulation of the Self.

In the mythology of many Native American cultures, an important figure called Spider Grandmother (Hopi Kokyangwuti, Navajo Na'ashjé'ii Asdzáá) can be found. She has a central role in the creation myth as the Creator who spun the “Web of Physical Life”. It is upon the strands of this web that all life is interconnected, with each creature being a vital and integral strand in the cosmic web.

Hence, a spider web can be viewed as a symbol of the organised cosmos and primal source of everything.

Unio Oppositorum

Mammon at his core is a union of opposites. To begin with, he unites the classical dichotomy of matter and spirit in himself. He has animal features and is still a spiritual being. His concept as an “animal deity” also corresponds to the ancient tradition of depicting beings with a divine status as animal-like: Egyptian pantheon of Gods, some Babylonian Gods, three animals following the Evangelists, and so on. Even the Christ was attributed with animal features, being called “a lamb of God”, “a fish”, or being depicted as a snake on a cross. Both, the instinct and the spirit, belong to the wholeness of the cosmos.

Mammon encompasses numerous other opposites within himself: he’s both goofy and dangerous, he’s a “baby” or “a manchild” to some and a sugar daddy to others, he’s lazy and extremely energetic at the same time, he’s fat yet very agile and has a very good body coordination, he has teeth and claws yet reminds you of a teddy bear, he’s both the performer and the manager, he’s both “a rock star” and an traditional artist, he’ll take from you but also give you what you want, his theme music is a combination of a classical circus jingle, a tune from “Carmen” and electric guitar rizz. Despite all the opposites at hand, everything feels natural and balanced in Mammon.

Even Mammon’s black-and-white stripes in his full-demon form indicate the consciousness of the opposites in him: he is not just light or not just dark; he is a combination of the two. This detail of his appearance reminds me of Koshare Pueblo Clowns (sometimes called Sacred Clowns).

For the same reason Mammon’s dualistic patterns on his clothes are extremely fitting and symbolic.

The Double, the Trinity and the Quaternity

“One becomes two, two becomes three, and out of the third comes the one as the fourth.” Carl Jung, C.W. Vol. 12: Psychology and Alchemy

Mammon has two Fizzbots sitting beside him. Folk cosmologies commonly feature twins, who are typically engaged in an unending battle with each other. Reality consists of a multiplicity of things: the division into two was necessary in order to bring the ‘one’ world out of the state of potentiality into reality. Dualities coexist in an undifferentiated manner in their natural state. However, the tension between the opposites grows stronger as consciousness awakens. An irrational third, the transcendent function, manifests from this conflict and unites them.

The fact that the Twin Fizzbots look gender ambiguous is meaningful: they are in unison and transcend the sexual duality, with “the transcendent function” being Mammon’s wish to make them androgynous. For the same reason it is very symbolic that in the storyboard, Mammon had two groupies of opposite genders sitting beside him: it is a “the divine pair” of complementary opposites united through Mammon’s equal attraction to them.

In alchemy, a lot is revolved around the “Mystery of Coniuctio” (of the Conjunction, the Marriage of the Opposites). The conjunctio requires a medium for its realization. The fruit of this union is the “Philosopher’s Son”, the Mercurius. He is a trickster entity that balances between two opposites, and is the base and the end of all being, an integration of light and dark, good and bad. This alchemistical process expresses itself in a trinity, tria prima, related to the law of the triangle. The law of the triangle is natural law formed from the union of two opposite but complementary equal halves to produce a perfect manifestation. Consequentially, the Twin Fizzbots (having complementary outfits with patterns on opposite sides!) are joined in Mammon, with them forming a trinity together.

Mammon has four arms. Four is a culturally meaningful number and an omnipresent symbol of the cosmic balance, as expressed in four cardinal direction, the four "Holy Creatures" that bear the Divine Chariot, four seasons of the years, fours functions of the consciousness, etc. Quaternity represents wholeness and universality. Several Hindu deities are often portrayed with four arms. The iconography of four arms symbolises divinity and power, as well as dominion over the four quarters of the universe.

The Rhombus

Mammon’s current costume includes many rhombuses: a shape consisting of two triangles, one downward and one upward pointed, joined together. This geometric symbol represents the unification of low aspects with the upper. Because rhombus contains vertical and horizontal directions simultaneously, it expresses the concept of Unus Mundus that unites matter and spirit instead of treating them as two polar opposites that exclude each other. In other words, it’s a symbol of the Hermetic universal principle: "as above, so below; as below, so above", which is rooted in the ancient Egyptian mysticism and Hellenistic philosophy. According to it, the immortal and eternal realm of the inner world corresponds to the physical and mortal reality of the outer world that we all experience. With that, Mammon displays yet another symbol of a union of opposites.

The Value of Money

Mammon represents the sin of Greed in a physical embodiment. There is nothing he loves more than money, all his endeavours dedicated to making more and more of it. He desires the ultima ratio of all things worldly.

Aside from its economic function, money can be used as a driving force behind action, a benchmark of success or status, a means of expressing one's own value, a tool for exerting control over others, a means of achieving happiness, a solution to problems, a means of defining one's own worth, and a source of security. It is not inherently wicked.

Money also symbolises a storage of concentrated potential energy for later use, it links us to the material world. Soul needs money so it doesn’t fly off into some distant psychic reality. “Laying up treasures in Heaven, where moths and rust can not consume them” leads to disassociation from the material existence, condemning it to a degree it does not deserve. Before your physical death, you are forced to play by the rules of the world that put value on success and material gains. In Jungian school of thought, the first half of human life is dedicated to adapting to the outer world, planting your feet firmly on the ground and accustoming oneself to the conditions imposed on you, learning how to use the material restrictions to one’s advantage. It’s all about the expansion of life and conquering the environment you are inhabiting, which includes learning how to secure yourself and improve your life conditions by earning money.

Mammon is also the supreme patron of money. A demon who can help in accumulating wealth and attracting financial prosperity. So, next time you look at a Mammon standee on you shelf, think about that: could it be that you are creating a little altar to attract his favor? Maybe, on an unconscious level, you seek his blessing in terms of fortune, prosperity, and abundance? Could it be that Mammon keychain on your backpack is a magical charm you feel supported by in your earthly endeavors?

Taken from the Shark Robot merch store, Twitter: kstoooone

Colour Psychology

What are the positive features one could instinctually associate with Mammon’s colours?

In colour psychology, green represent health, life, and prosperity. Being a dominant colour in nature, green is associated with vitality, harmony, and growth. It is a harmonizing, balancing and calming shade. Green is also associated with luck: the Irish believe the wearing of the green brings fortune.

The gold colour is the colour of wealth, achievement, and triumph. Golden colour adds richness and warmth to everything that it comes in contact with. It illuminates and enhances other things around it. It is optimistic and positive, as well as being synonymous with divinity, wisdom and power in many religious settings. It inspires knowledge, spirituality, and a deep understanding of ourselves and our souls. For the alchemist, gold represented the source and end of all being, and the perfection of matter on any level, including that of the mind, spirit, and soul (the famous “Philosopher's Stone”).

Sometimes, purple colour can be seen in things associated with Mammon (his advertisement for Fizzbots, the interior of his concert building, etc.). Purple, green and gold are Mardi Gras colours.

Mammon’s merchandise usually feature lime green, a hue mixture of yellow and green. Lime green is a bright, electric colour full of vibrancy and energy. It is a colour closely associated with confidence, and is thought to promote feelings of liveliness and excitement. It is also a colour that is said to stimulate the mind and body, and to promote creativity.

In conclusion, Mammon’s visual appearance features colours that have a psychologically vitalising and positive effect on the viewer, making him a very pleasant character to look at.

KA-CHING!

The known laws of physics forbid the movement through the outer space of either mass or energy faster than the light speed. Mammon doesn’t care about that, he simply teleports wherever he pleases.

The trickster archetype is a “boundary-crosser”. They violate principles of social and natural order, playfully disrupting normal life and then re-establishing it on a new basis. They will dismantle, construct, manifest themselves, move, and perform tricks that seem to bend all notions of causality, normality, and sense. All your prior knowledge and assumptions will be casually thrown out the window by these entities. They excel at manipulating reality to their will and breaking the laws of physics. The strangeness of Mammon does not end there. Where does the „ka-ching“ sound and confetti come from? What are those voices of cheering kids? Mammon is a reality warper and uses his abilities in the most childish yet endearing way possible. You are confronted with something that blows up your categories of judgement and does not give you a coherent explanation for anything you saw. These are just facts you need to somehow integrate into your established picture of reality.

The Jester and the Death

There could be a very profound symbolism behind Mammon’s skeleton suit.

The medieval understanding held that the root of all foolishness was the denial of God (logos, ratio). Any detachment from human reason, or the instinctive, irrational, and impulsive behavior that prioritizes desire over purposeful thought, was referred to in this context as "foolishness." Foolishness and sin were set on the same level. Those who denied the existence of God were doomed to eternal death after their life on Earth had ended because they rejected the idea of an immortal soul (and, instead, lived a life of an irrational desire-driven “animal”).

The Fall of Man brought death into the world. Adam and Eve lose both paradise and immortality when they choose to follow the serpent instead of God. The Old Testament provides an explanation for the two greatest mysteries of human existence: first, the imperfection of man and, second, the temporal limitation of his existence. If original sin is the reason for death and if foolishness has the same meaning as the original sin, then foolishness should also have a causal connection with death. This was, in fact, the conviction of people in the late Middle Ages.

The fool and the death are believed to have a kinship relationship in the Dance of the Death frescoes. The death appears in numerous depictions of it dressed as a jester. During the turn of the Middle Ages, there are actually a lot of visual arts examples where death and the jester are viewed as counterparts (window niche in the monastery of St. Georgen in Stein am Rhein; choir stalls of the church of St. George in Nördlingen, collegiate church of Öhringen in Hohenlohe, etc.).

The other implied connection is the fact that the Carnival (“carne vale”) is followed by the Ash Wednesday (“remember man that you are dust, and to dust you shall return”). Two aspects of man’s limitations (flesh and death) are thus seen as affiliated with each other in the liturgical year.

The Devil, the Jester und the Death are the Unholy Trinity of Christian visual art.

Truth is One, One is All, All is One

Cultural similarities across the globe underline the facts that, despite things being expressed in different ways, our psyche tries to communicate the same truths. All cultural manifestations have their unique features, but within their areas of action one can recognize the same archetypal patterns. Jungian analysts and mythologists pointed to the plethora of tricksters around the world.

Firstly, Mammon reminds me of the Laughing Buddha (Budai or Hotei) from Eastern cultures. His well-fed appearance represents abundance. When you observe the most popular form of the laughing Buddha closely, you will notice that he is always carrying a cloth bag that is filled with many precious items such as food, candies for children, and other riches. According to the belief, he will collect all your sadness and misfortune, put it in his sack and leave you with abundance and positivity. The sack also represents wealth and good fortune.

The most popular colour for household Laughing Buddha sculptures is gold. Even though it is a Feng Shui sign, Vastu Shastra experts also advocated for the placing of Laughing Buddhas in the home. To them, the smiling Buddha is comparable to Kubera (the god of wealth). Lord Kubera, celebrated as the Supreme Lord of Wealth and revered as the Treasurer of the Gods, stands as the epitome of affluence in Hindu mythology. Business owners and shopkeepers, seeking to accumulate wealth, turn their devotion toward Kubera.

Lastly, Mammon’s affiliation with the wealth and his jester nature draw parallel to the Roman God Mercury. He is a trickster and the god of commerce. His name is related to the Latin word merx, from which we get the English words merchandise, merchant, and commerce. It may also correspond to the Latin word mercari (to trade). Mercury often served as a mediator between the gods and mortals, including being a guide to the people who descended into the Underworld. Considering the fact that “the Underworld” is a symbol of the unconsciousness, this perfectly correlates with the previously mentioned ability of a clown to perfectly balance between rational and irrational state of being.

As stated above, the alchemy symbolically views Mercurius as the resulting “child” of the Union of Opposites, the restoration of the original undifferentiated state of the cosmos. The tria prima of alchemy needing for the achievement of this state consist of “sulphur, salt and mercury”. Sulfur, the "soul", is the masculine principle. Salt, as the "body", is the feminine principle. Mercury, as "spirit", is equivalent to "mind". Hence, the mystical trinity is: Soul, Body, Mind. It is, however, important to consider that the mind has two aspects (conscious and subconscious, left and right). This is metaphorically expressed in the balancing act of Mercury. This is why Mercury is often depicted with wings, he literally "flies between the two worlds". In the “In the mountain of the Adepts” engraving from Stephan Michelspacher's “Alchemia”, one can spot Mercurius at the top centre, being depicted as a playful, jester-like figure, standing in the same balancing pose like the Mammon standee.

Taken from the Shark Robot merch store, Twitter: kstoooone Conclusion

Mammon provides us with a plenitude of symbolic insight into the topics that continue to stay vitally relevant. Seeing Mammon is enough to feel like coming in contact with a primordial deity. You are confronted with something greater that yourself and experience “mysterium tremendum et fascinans”. Mammon is undoubtedly the best character ever created by the Western civilization.

*gives his cheek a smooch*

[a-random-hippie]

A Pattern i've noticed with Lovecraftian/Eldrich and Cosmic horror Is the eldridge deity is depicted in a more humanoid manner

There are exceptions to this. Of course, some excellent ones that come in the mind are:

Area x from Jeff VanderMeers Annihilation.

The thing from Still wakes the deep.

And the color from the color out of space.

However on the whole I find that a lot of Media that depicts some elements of comic horror Will often betray the Incomprehensible uncaring Eldrich, horror at hand as something more humanoid.

My head cannon for more humanoid depictions of eldrich deities

is that because this thing is so Is beyond human comprehension we end up projecting elements of our experience onto it

Making it either take the The form of, the shadow of destruction, chaos, apathy, hate and fear.

Or as a monument of wonder, scale, power, and perseverance.

Dependent upon the observers experience living among humanity.

[willknightauthor]

Wraith: The Best Game That Never Was

It occurred to me that even among RPG nerds Wraith is more obscure, and that makes me sad. Like people know it existed, but even at the time it was an also-ran. Among insiders at White Wolf it was a darling, but it never took off, so they stopped its line half way through. Even in high school I had to buy the books used online.

Wraith is one of the most original and compelling approaches to the afterlife I've seen in any medium, but especially in an RPG. In many games ghosts feature as NPCs, but rarely do you get to play as them, and even more rarely in an interesting way that centers the subjective experience of being dead.

The first thing that grabbed me was the art, all faded gray-scale, scratchy, often grotesque and surreal. The cover is striking: stark gray bound in chains. All far bleaker and genuinely scarier than anything else put out by White Wolf. Turns out the art matched the vibe of the setting very well, because the ultimate conceit of Wraith is that if the living knew what the afterlife is really like, we'd all be even more terrified to die.

Wraiths are a violation of the laws of nature. Biological life is already an improbable struggle against entropy, but the continued existence of consciousness after death? An absolute affront to the universe. Reality wants you gone, but you can't be killed. That contradiction manifests as Oblivion: non-existence as a visible, active force; the Freudian death drive become physics. And it goes all the way down into your very thoughts.

The afterlife is a world of ideals, not materials. Your well-integrated mind shatters into pieces when you die, and your "physical" form is a manifestation of it. Your Jungian shadow-self, once an unconscious and abstract thing, becomes a real, tangible person living inside you. All your vices, your self-loathing, your misanthropy, your death drive, become a voice in your ear: your best friend and worst enemy, helping and tricking you, constantly trying to gain control.

But you can't be killed. You're already dead. Instead of death, you just decay, further and further towards becoming your shadow. Eventually all that's left is a nightmare of who you used to be, existing only to torment others and drag them down together into nothingness. The world is full of these monsters, the things that go bump in the night and terrify both the living and the dead.

But that's literally the tip of the iceberg. The thin layer of shadow reality is nothing compared to the much larger expanse of the Tempest: a cosmic plane of dream and nightmare, right on the edge of Oblivion. The deep underworld is Lovecraftian Mad Max: an infinite shifting desert of eternal night filled with screaming storms, incomprehensible monsters, and forbidden knowledge. Pockmarking it are islands of stability upon which societies are built--dysfunctional city-states desperately attempting to project power into a world constantly trying to swallow them.

However, if no-one can die, then every awful political trend and tyrant remains forever. And they all have a huge head start on you establishing political power. Their society is a veneer of modern industrial capitalism, layered on top of mercantile guilds, layered on top of feudal lords, layered on top of a Roman imperial bureaucracy, all built on the back of one ancient wraith: the ferryman Charon.

But the Emperor has been missing for a long time, and the bureaucracy is so massive and old that it's rotting in on itself. Who knows how many are secretly succumbing to their own shadows? Their attempts to rule the rest of the underworld are always tenuous, like the last days of Roman Britain. It's a world eternally mid-apocalypse.

The problem with a world of thought and feeling is: how do you make things? What do you make them with? Sometimes the ghosts of physical objects make their way through, and they're mined like whale fall. Undoubtedly the Twin Towers were a huge boon to the dead, probably the site of an entire city.

But it's not enough. Wraiths are still people. They want clothing, and furniture, and buildings, and machines, and tools, and money. Where does all that come from? The only thing left that wraiths can touch: other people. Wraith society is built on a form of slavery more exploitative and horrifying than anything that's ever existed among the living. Slaves are valued not for their labor primarily, but for their use as raw materials.

The vulnerable newly dead are captured, dragged back to the capital, and molded in workshops and factories into goods for the upper classes. They claim it wipes out consciousness, and thus the finished product isn't suffering. If anything it's a mercy! To release them from the torment of the afterlife! And prevent them from becoming monsters! But when it's quiet, if you listen closely, some report you can hear it all whispering.

The bleak alienness of this afterlife to any human religion breaks the minds of many when they first realize they're dead. Some go into denial. Some reject their old religion. Some invent new religious explanations. And some try to twist their old beliefs into a shape that conforms.

The underworld is full of cults. Cults promising escape from the underworld. Cults claiming they know where heaven and hell are. (At best just projections of the collective beliefs of the living into the underworld.) Cults who claim they're building heaven and hell themselves. (These sorts of "afterlife lands" sometimes become tourist attractions.) But Oblivion is Oblivion. If you could describe its structure logically you would be contradicting its very essence. There is only decay.

Most people don't go to the shadowlands when they die. Where do they go? No-one knows. What happens when you're swallowed by Oblivion? No-one knows. Is there a God? No-one knows.

Just like when you were alive, you don't know what comes next, or why you're here. It's not real death, it's something in between. But maybe real death is just nothingness. Better not to risk it, then... even if that means clinging to the sands of Hell under the yoke of an eternal slave-aristocracy.

Maybe if you can figure out why you're here, you'll find a way out.

[cyvonix]

Cyv Reads Homestuck - Act 5 Act 1 Wrapup

Just finished Act 5 Act 1. Holy FUCK. I actually need a moment to collect my thoughts. Might be a minute. Which is to say, no time at all for you, unless you want to simulate the experience of me writing this by walking away from the screen for a few minutes...

Hey, welcome back. Unless you just kept reading in which case you're ruining the sanctity of this whole thing. Shame on you. Anyway.

Act 5 has been a huge departure for Homestuck in a few different ways, and the biggest reason for all of them is our new focus: the trolls. The trolls and their bizarre world help introduce us to entirely new aspects of the story, and presumably prep us for what is to come in terms of both scale and content. This act is one of extremes, taking further steps toward both sides of the emotional spectrum.

On the one hand, things are sillier than ever. The strange and oddly beautiful world of Alternia, its incomprehensible culture, its boisterous personalities; it's all wonderfully playful in its execution, reveling in the ability to craft a whole new world from scratch, unbound by the expectations of our own reality. The characters we're introduced to, consequently, are equally fun to learn about and be placed in the shoes of. Seriously, all the trolls except Equius are a joy to read, each filling the role of a specific archetype that is simple to understand from the onset, yet developed into fuller personalities as the act progresses. There's practically a particular troll for every kind of person, and I can totally understand how such personal connections were formed from a fandom perspective. These motherfuckers BEG for it.

On the other hand, things have never been more dire, more dramatic, more unsettling. Firstly, in the interpersonal sense. This act struck me as one where, as opposed to the previous acts feeling very much like a story about children, it is explicitly a story about teenagers specifically. There is a much greater emphasis on the confusing and sometimes frustrating experience of existing as an adolescent around your peers, letting the determinant factors in how things progress be friendship, romance, jealousy, rivalry, and all the other angsty feelings you would expect from a cohort of this age range. And despite the alien world and any of the bonkers social rituals or mating practices thrown into the mix, these core emotions still come through as clearly as they would in human children, climaxing in often devastating displays of sadness and revenge.

Outside of mere sociality, the cosmic horror present in the world of Homestuck is also more pronounced than ever. With the formal introduction of characters such as Doc Scratch and Lord English, the stakes are raised even further, leading us to inhabit a world truly eldritch in nature, one where time loops and visions of the future can be ghastly and harrowing. Some are left destined for damnation, as we and they are both left simply waiting to see how their undoing will occur. The idea that many of these characters seem trapped within an inescapable path to their own destruction, that some timelines are preordained to be martyred for the greater good - it's all quite unnerving.

Knowing all of this, I can hardly imagine how it will feel once we refocus on our four main characters. Hussie has opened the flood gates in respect to the depth and seriousness the storytelling is permitted, and with the events of the fourth act providing so many world-changing developments to the kids, I can only imagine that they and this new storyline will converge in the biggest and most revelatory act yet. Because as much as I've praised this act, it admittedly did feel mostly like setup; the careful placing of pieces and recitation of instructions before they are all catapulted into something greater. For this, I couldn't be more excited. Once again, thanks if you read all of this, I appreciate it lots and would love to hear what you think. Here are some random highlights and unorganized thoughts of mine before I sign off:

My favorite troll from an aesthetic and relatability perspective is Nepeta, the beautiful perfect catgirl she is.

My favorite from a personality perspective is Kanaya, because she just seems to be a really sweet and caring person and I'm intrigued to learn any more about her. Maybe tied is Terezi, who I find a blast to read absolutely all the time and who also seems to be a pretty nuanced character despite first appearance.

My favorite from a storytelling perspective is Vriska, who I fuuuckin hate. ARGH. Can't stand u. But god damn you're written so well and are so interesting and I wanna know bout u.

On a somewhat related note, wow! [S] Make Her Pay! Cool ass animation this time around: lots of beautiful artwork, sick soundtrack, awesome set pieces. Wonderfully done.

The end of this act?? Omg???? The entire monologue section from Aradia was bone chilling, and led up to what was such a SHOCKING revelation to me in that the trolls created Earth I fucking guess????? idk, maybe other people had guessed it by that point and I'm just an idiot but absolutely no part of me even slightly guessed that that was what was going on and it was insane and awesome to learn.

The art overall kinda took a big step up this act, just wayyyy more panels that were detailed pieces rather than the representational sprite art. I dig it.

So so so curious what ungodly series of events leads to the kids causing a literal rift in time space

[lovxrslane]

december 25th.

lane watched the sleeping form of the older woman, eyes lingering for any signs of distress with each rise and fall of her chest. the dorm room was bordering on claustrophobic and having the drapes drawn only made it feel that much smaller. had she signed their death warrants coming here? it'd been a bad idea, there was no denying that, but had there been any other choice?

she'd had it handled.

when the armed survivors showed at the warehouse and the group scattered like mice to find cover, lane ending up alone and without a weapon and bleeding from a wound they didn't have time to stop and examine. she could handle that--it hadn't been a problem.

but then she'd found dalton (and constance, but that was of less interest) if lane was the wexley's left hand, dalton was the right, and together they were devoted to the smooth sailing of both the building and the family responsible for it. she couldn't do it without him--it simply wasn't possible. the idea of going back to the wexley without dalton was incomprehensible. there was no wexley without him.

so against better judgment, lane had came to his aid.

and as in all situations where you act selflessly, in lane's experience, the gesture tremendously backfired. dalton was dead, constance was bitten, and lane was shot. they say it comes in threes.

-

the university was a death trap. she saw no way out of it, even as lane carried constance over her shoulder and rushed through the halls to find somewhere to hide. lane had taken out one of the survivors and the rest were out for blood--hiding among the infected had seemed like the best option.

but that had been nearly 36 hours ago and now they were locked in a small room with constance wexley dying of sepsis because lane had to cut off her fucking leg and they could hear the undead shuffling the halls of the dormitory looking for them and their stomach was hurting with hunger and the prospect of dying here with constance wexley was some terrible cosmic irony.

what had she done so wrong? so she got a job with the wexley's under false pretenses. and maybe sometimes she was cold and moody to them. but she always did her job--she always went above and beyond.

fists balled tightly, lane barely resisted the urge to scream in frustration until the voice of her companion caught her attention.

"tamberlane shelley, if you don't ask soon you'll never get the chance again. i think it's time to decide if you really want your answers or not."

[theliteraryluggage]

📓

alright here we go

this one i've been rotating in my mind a lot this week. originally inspired by the tumblr post that went like "cosmic horror (god loves you too much and keeps resurrecting you)"

developed into a TOG-ish but not quite AU where Truth keeps resurrecting Ed whenever he dies.

It would follow along the fist few times it happens, as first he and then the people around him realise what's going on. Want to focus on all the different horrors of it.

The horror for Ed to have to experience death over and over again and simply not being allowed to rest. The horror of the people who killed him to have this guy whose throat they just slit get back to his feet, exasperated and pissed, still completely covered in blood but with a fresh pink scar right across his neck. The horror of his loved ones, first with that fear and grief of thinking he actually died, then the absolutely incomprehensible horror of seeing him get up again and not understanding and being relieved and terrified and sick all at the same time, and then the horror of thinking about the pain he goes through, what it must be doing to his mind and his body, to see him become a little less human, a little less Ed, with every time, not because he is anything other than human--he's still an ordinary person, Truth just won't let him die--but because he's experiencing something horrific that no human mind was built to withstand ...

I'd also want to explore the effect this would have on Ed's stance on killing people and how it would change the longer this goes on.

So many ideas ... 🤭 thanks for asking!

Put "📓" into my inbox and I'll explain the plot of a fanfiction that I haven't written but daydream about.

[revenant-coining]

Gelioesis

[ pt: Gelioesis ]

[ID: a rectangular flag with 7 equally-sized horizontal lines. colors in this order from top to bottom: dark blue-green, green, yellow-green, pale yellow, yellow-green, green, dark blue-green. in the center of the first flag is a pale yellow circle with a dark blue-green crescent on the top. End ID]

Gelioesis: a general term connected to these concepts:

non-humanized and non-biblical angels, and things that in the image of, are a copy of, or is a replica of an angel

relying on machines, a physical, mental, and emotional bond with machines, and becoming one with a machine

living / sentient machines

cosmic horror, dread, hopelessness, stress, unreality, incomprehensibility, illusions, and psychedelic visuals

silence, and the art of sound

technology, cybernetics, mechanics, science, experiments, synthetics, organics, and the mix of synthetic, organic, and technological materials

quotes such as: “It's a simple thing, to destroy people”, “the prototype of a god”, and “acts of men are better than acts of god”

and any other themes that can be associated with the listed themes

this term can be used for gender, orientation, aldernicity, nonhumanity, etc.

this is not a non-xenine umbrella, nor is it a xenine, but can be experienced xeinine, kenoine, kourous, etc

this term is inspired by Neon Genesis Evangelion, and my thoughts / feelings on it, but has no direct connections to Neon Genesis Evangelion ^^

@radiomogai

[ID: an orange line divider with a star covered in flame in the middle. End ID]