Archive for dream lover

THE TIME MACHINE SECRET OF THE SPHINX

Posted in Art, Chaos Magic, Dr Who, Ghost, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 8, 2017 by FAUSTUS CROW

Did H.G. Wells know the secret of the Sphinx? Wells very likely knew that the ancient Greek word, Sphinx means to strangle. Wherefore the Sphinx was known as the strangler, which refers to the original meaning of the composite word, Night-Mare, which is experienced when an an individual inadvertently accesses hypnagogic trance at the point of sleep, who then feels a great weight bearing down upon the chest area of the body, leading to the sensation of being strangled.

In Hebrew folklore the experience of the strangling (Sphinx) Nightmare is associated with a Night-time Succubus visitation of ‘Lilith.’ Although the phenomenon of a Succubus visitation is documented by many another culture. Hence the reason why the female term, ‘Mare’ is used. The Nightmare is technically termed as the ‘Old-Hag-Syndrome’ or otherwise known as the Bedroom Invader Experience.

The initial hypnagogic trance experience of the Night-Mare is utterly terrifying, since it involves experiencing vivid visionary material, which can be that of pure horror made manifest, causing a ‘Flight, Fight’ response, this then induces your lungs to secrete endogenous DMT.

The (Sphinx) experience of hypnagogic trance is also the power of the Merkaba throne in the Hebrew mystical system of the Kabballah, which had been influenced by ancient Egyptian symbolism. The Pharaoh considered the throne as being feminine of source, which was personified as the Goddess, Isis, who is often depicted being winged, like a raptor.

The throne refers to the power of the dream, which is illuminated by the bio-photon, emanating from the mitochondrial DNA. The mitochondrial DNA is passed down from the mother to her children. When consciously accessing hypnagogic trance an individual might experience the sensation of horns sprouting forth from atop of the head, or that of the top of the skull opening up, or the head elongating. These sensations led to the symbolism of the crown, such as the elongated crown of the Pharaoh.

The experience of the head being elongated is spoken of by the Kalahari Bushmen, as well as the Dogon of South Africa, which is a common neurological sensation of accessing trance. In some societies it was taken much further by artificially deforming the skull of a child. There are those who believe the elongated skulls belong to alien hybrids; such is not the case.

In ancient shamanic societies, Shamans practiced consciously accessing (Sphinx) hypnagogic trance, which enabled them to attain conscious ingress into a lucid dream. A Pharaoh is essentially a Shaman. When attaining ingress into a lucid dream via (Sphinx) hypnagogic trance the Pharaoh was enabled to attain an Out-Of-Body-Experience (OOBE), to thence fly as a disembodied winged Sun, or to Remote-View Time-Travel hover as a Horus Hawk over the Zodiac Ages.

As a sort of an aside, it is rather curious that Robert Munro OOBE accessed a steampunk alternate Earth via an inner (Stargate) ‘portal’ governed over by a female called, Lea.

Dr John C. Lilly also spoke of inner doorways, which lead to other worlds, who to have floated as a Pharaoh (Shaman/Nommo) within his floatation tank of a kings sarcophagus.

It just so happens that the name of Lea is etymologically connected to the name of a Celtic Faerie Lover (Art Muse) called a Leannan Sìth. It is with Lea, slider Monro becomes romantically attached, as his (Succubus) Dream Lover, when sliding into an alternate self of an Avatar.

Maybe H.G. Wells had done likewise, to ‘Sphinx dream’ of an Eloi Muse, named, Weena, when accessing (Sphinx) hypnagogic trance?

If So, then H.G. Wells had ‘Travelled Without Moving,’ when drifting off to sleep within his humble ‘Montauk Chair’ of gnarled wood and tatty Victorian leather as his ‘Night-Mare’ Time-Machine, to Remote-View know of other alternate Zodiac Ages, whose conjured Theta Brainwave ‘Art Muses,’ inspired his quantum computing lucid dreams.

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TIME TRAVEL WITCH PONY-GIRL

Posted in Alien, Art, Chaos Magic, Dr Who, Ghost, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Poltergeist, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 14, 2015 by FAUSTUS CROW

The artwork above depicts an alternative version of the fifty-fifth spirit called Orobas, who is listed in the the Grmoire, entitled the Goetia. The conjuration of Orobas has been popularised among the occult fraternity by the American author, lecturer, musician and occultist, Lon Milo Duqette, who described summoning Orobas in his autobiography: My Life With The Spirits. Duquette’s conjuration of Orobas occurred before his ascent to fame, which at the time had initiated some intriguing synchronicities.

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Orobas is classically described as being a male entity, who initially manifests as a small ‘Horse,’ before assuming human form; whereby, when you reverse ‘Animus’ fixated symbolism of the Playgirl grimoires, to otherwise have an ‘Anima’ expression of a Succubus, you then have the symbolic motif of a Ponygirl, who is also a Witch, to name as Orobasi.

The name of Orobas is derived from the word: Ouroboros, which is a term for an ancient symbol of a snake eating its own tail.

The symbol of the Ouroboros describes, Eternal Recurrence, which a physicist would otherwise term as a closed timelike curve; this leads you to time-travel, hence that of the symbolic association with Doctor Who’s TARDIS.

The shamanic deity of Norse mythology, called Odin, the Saxon’s named as Woden, is the ancient forerunner of Doctor Who.

Odin, rode an Eight-Legged-Mare called Sleipnir, which can be equated with Doctor Who’s TARDIS.

Orobasi manifests as a Succubus manifestation of the Fallen ‘Anima,’ whose archetypes have been castigated out of the the ‘Animus’ dominated paradigm.

The above artwork at the head of this article is a depiction of an ‘Out Of Body Experience,’ of which the dreamer is carried by the Ponygirl, Orobasi through time, within a lucid dream as Doctor Who, of a youthful memory.

Then again, perhaps the dreamer has departed from this mortal coil. What the dreamer, or discarnate soul of the individual to then experience is somewhat similar to Little Nemo In Slumberland; although his out of his ‘Skull’ Bardo adventures are somewhat ‘Crossbone’ trance ‘X’ rated.

This leads to his future self being able to influence his own past via a self induced lucid dream, which of an ability is symbolised by (Orobasi) the Ouroboros.

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Basically, he possesses his own self, and should he remember his future self, now as a dream, to once again awaken as a youth, he is then able to recreate himself anew; for his elder self has beckoned back through time via his own dreams by riding Orobasi.

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LILITH’S HAREM, PARALLEL UNIVERSES, ALTERNATE EARTH’S

Posted in Art, Chaos Magic, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 30, 2015 by FAUSTUS CROW

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Did Robert Monroe, also known as Bob Monroe, (October 30, 1915 – March 17, 1995) experience accessing an alternate Earth, whose technology is right out of a Steampunk novel? Sounds like pure science fiction doesn’t it. Well, he did reveal, that he had actually done so, when consciously journeying into the quantum realms of the dream, who was an idiosyncratic pioneer of out-of-the-body experience (OOBE) research, which in turn encompasses lucid dreaming. His 1971 book, Journeys Out of the Body, is credited with popularizing the term, out-of-body experience.

Munroe’s full name is Robert Allan Munroe, who was originally a radio broadcasting executive who became best known for his research into altered states of consciousness and founding The Monroe Institute. Many an individual who has had an OOBE, invariably investigates Monroe’s experiences in order to come to some understanding of their own out of body experiences along with gaining an insight into lucid dreaming.

Munroe’s research into altered states of consciousness, began during the straight laced 1950’s, just prior to the psychedelic 60’s, when his shamanic work really took off. Munroe produced evidence that specific sound patterns have identifiable, beneficial effects upon our capabilities.

For example, certain combinations of frequencies appeared to enhance alertness; whereas others induce sleep; and still other (song/icaro/mantra) sound combinations evoke expanded states of your consciousness, which at the level of the ‘electron’ dream has the ability to ‘slide’ through inner doorways, into other realities.

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His extensive research was professionally assisted by specialists in psychology, medicine, biochemistry, psychiatry, electrical engineering, physics, and education, which led to the development of Hemi-Sync, a patented audio technology, which is claimed facilitates enhanced performance of your ‘quantum computing brain.’

Monroe was very precise when describing the methods, which he had developed for ‘Sliding’ into the astral worlds of the ‘Electron’ dream.

He assiduously described the dream realms in great detail of nigh scientific scrutiny, which he divided into three specific regions with differing properties, terming them as being, ‘Locale I’, ‘Locale II’ and ‘Locale III,’ of a shamanic cosmology.

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According to Monroe, Locale I is our present everyday Earth. It is here where the Old Hag Syndrome is often experienced of a prelude to an out of body experience.

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Should the nightmare, which rides your fear be instead transformed into a Night-Mare for you to otherwise ride, the astral body is then enabled to leave its corporeal vehicle behind; whereupon it can then hover around the collective-mind-map, observing faraway places, visiting the abodes of friends or loved ones, experiencing precognitive information, accessing the past or even exploring the depths of space.

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But the dreamer is still constrained to his/her present universe, which is basically that of remote viewing from within the informational domain of the quantum dream.

In Locale II, the dreaming reality becomes far more surreal. This is the region where varying alien entities exist of similarity to what the author Carlos Castaneda termed as the inorganic intelligence of the Allies.

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Castaneda described the Allies as being a ‘feminine’ inorganic intelligence, which exists in a dimensional domain outside of three-dimensional (Maya/Matrix) space and time he called Penumbra, which of a visionary manifestation appears as a vast desert dividing worlds.

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The symbolic motif of the desert is utilised in the Cabbala for its thirteenth path, whose ascribed Hebrew letter is Gimel, meaning (Ally) Camel. The thirteenth path of the Tarot Card: The (Ally) High Priestess of the Silver Star, penetrates the hidden 11th dimensional sphere of Da’at.

It is at Da’at that the magician experiences his consciousness accessing an Abyss, which is the space between worlds. The Abyss (mini-Worm-hole/Silver-Star) is experienced (folding space) prior to attaining (Kwisatz Haderach) ingress into an alternate world.

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When Monroe’s consciousness accessed Locale II he would sometimes experience being hassled by nightmarish beings, who reflected back his fear, and in doing so, attempted to drag his astral self back to Locale I; whereby impeding his progress, and generally made his inner experience unpleasant as if these entities were seeking to block him from accessing Locale III.

What Munroe experienced regarding the assailing entities, is what many Siberian shamans to have spoken of. The shamans communicate that they are initially impeded in their trance ingress into other realities by Erlik Khan’s daughters, whom can assume Nightmare forms, until the shaman overcomes his fear of their father, who is death; after which they then become as his (Allies/Succubae) Night-Mare spirit wives, to thence ride into other worlds.

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However, Munroe stated, that Locale II was the ‘natural environment of the Second Body’, where thought translates directly to ‘bodily’ motion. The second body its self, although appearing of apparent human form, in relation to the dreamers memory of his/her physical body, is not its true form.

Locale III is where Monroe accessed an alternate Earth, via what he termed as being a (mini-wormhole) hole, into which he slid into an alternate reality. The alternate Earth to all intents and purposes exists within a parallel universe. Monroe experienced this alternate Earth as being a material world, whose reality is almost identical to our own.

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But there were differences, as Munroe described: “There are no electrical devices whatsoever.” Munroe observed that the transport of this alternate Earth utilised steam-driven locomotives, which sounds like a Steampunk cross between an American motor-home and a High-Speed Train, which hauls wooden cars. The automobiles of this alternate Earth were twice as wide as Munroe’s own equivalents, which are driven along huge roads at a sluggish 15-20 mph.

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After several slides into a parallel universe of Locale III, Monroe discovered an alternate Earth inhabitant who was his (alternate-self) doppelganger. Monroe involuntarily enters into his double’s body; whereupon embarrassment and confusion ensues, which often involved a Steampunkette woman called Lea.

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It just so happens that the name of Lea is etymologically connected to the name of a Celtic faerie lover called a Leannan sìth. It is with Lea, slider Monroe becomes romantically attached, as his (Ally/Succubus) dream lover, when sliding into his alternate self.

Monroe’s dream slides into Locale III, he otherwise called, ‘intrusions.’ This alternate Earth has a three dimensional reality. As stated in part, earlier, Monroe related, that his intrusion into an alternate Earth as being, “a physical-matter world almost identical to our own. There are trees, houses, cities, people, artefacts and all the appurtenances of a reasonably civilized society.”

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However, Monroe observed that, Locale III had evolved along a different technological trajectory; there was no electricity or fossil fuels; its inhabitants relied instead upon a sort of alternative power source. Perhaps, it is where the ideas of Nikola Tesla had taken root, without any impediment from gangster bankers, along with the further development of steam power, which had engendered an alternate Hippie Steampunk reality.

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As for myself, I have dream slid into differing Locale III alternate Earth’s with the assistance of the (Priestess of the Silver Star) Locale II (Lilith’s Harem) Allies. The Allies assume the forms of Succubae, whom then usher my conscious awareness through their vaginal (Vesica Pisces) stargates into alternate Earth’s.

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Some of the Locale III alternate Earth’s can be described as being Steampunk realities, although the slides into different alternate Earth’s is determined by what type of Succubus one conjures into Locale I, when to become lucid of awareness.

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SUCCUBUS SPIRIT WIVES OF THE YAKUT SHAMAN

Posted in Alien, Art, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 7, 2014 by FAUSTUS CROW

Like many of the indigenous peoples of Siberia, the Yakuts practiced shamanism, who originally lived around the Olkhon and the region of Lake Baikal. (The above Artwork is available as an Art Print from Saatchi Art. If you are interested Please Click Here or Clicking on the above Artwork for the Full Artwork and further details.)

But during the 13th century they migrated to the basins of the Middle Lena, the Aldan and Vilyuy rivers under the pressure of the rising Mongols, where they mixed with other Northern indigenous peoples of Russia, such as the Evens and Evenks.

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By the 1820’s almost all the Yakuts had been forcefully converted to the Abrahamic faith of the Russian Orthodox church, although they rebelled against this onslaught in order to retain their ancestral-self-identity.

However, during the late 1920’s through the late 1930’s, the Yakut people were systematically persecuted, when Joseph Stalin launched his collectivization campaign.

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Hunger and malnutrition resulting from the period of persecution resulted in a decline in the Yakut total population from 240,500 in 1926 to 236,700 in 1959.

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By 1972, the population began to recover. The Yakuts presently form a large plurality of the total population within the vast Sakha Republic.

The Sakha Republic is one of the ten autonomous Turkic Republics within the Russian Federation. Even though the Yakut have suffered much under the yolk of Christianity, let alone fighting off Islam to then be hit by the Soviet regime, they still practice their ancestral legacy of shamanism; whereas the Abrahamic invaders of their land have entirely forgotten their own ancestral-self-identity.

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The Yakut shamans know of Succubae who are considered to be spirit wives. They are usually seen to be the spirits of deceased women who become Succubae.

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Although, some of the Succubae are constructed as thought-forms, of similarity to the Tibetan sorcery technique of the Tulpa.

During the 70’s an experiment was conducted by a group of Canadian parapsychologists who utilised the shamanic technique of creating a Tulpa. The experimenters successfully created a ghost, which generated poltergeist phenomena.

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The Canadian experiment was later repeated by a group of Australian parapsychologists based in Sydney, who created a Tulpa of a girl, they named Skippy Cartman, which also generated observable poltergeist phenomena.

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A shaman does likewise, who artistically creates spirit wives for specific poltergeist tasks. It is from these spirit wives the shaman derives much of his shamanic abilities, who are collectively called Abassi.

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Other spellings of the term Abassi are: Abaaht, Abasy, Abaasy or Abassy. When the Abassi sexually interact with a shaman within his lucid dreams, he knows he will soon be called upon to heal a patient.

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The Abassi maidens are seen to reside in an otherworldly domain called Mᾱnarikta Challan, the heaven of the spirits of ecstasy. (Shternberg 1935, p.246ff)

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However, there are darker accounts of the Abassi, which are very likely entwined with cultural sexual taboos.

According to other Yakut informants, the Abassi are alleged to be the spirits of long-time deceased women who dwell near graves, or in deserted places, or to otherwise travel around as predatory Witches invading the dreams of the living.

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In these accounts the Abassi inhabit the underworld rather than a heavenly abode.

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The shamanic perspective of heaven and the underworld alludes to shifts of consciousness, which the Abassi enable a shaman to experience.

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Heaven refers to a shift of consciousness above the (cerebrum) head, where the shaman will sense he is flying up into, and through, a vaginal star barrelled tunnel into another planetary (parallel universe) sphere.

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As for the underworld, it refers to a shift of consciousness to the (cerebellum) back of the head, where the shaman experiences falling backwards into a great void before attaining ingress into the (alternate Earth’s/eternal-reccurrence) ancestral spirit world. Basically, the Abassi enable (hypnagogic) trance ingress into both (brain) domains.

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The Yakut generally have two types of shamans, the black shamans, who interact with the Abassi, are called, Abassy-oïuna, and the white shamans, whose practitioners are called Aïy-oïuna, do not engage themselves with Abassi.

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The ‘black shaman’ among the Yakut bares no comparison whatsoever to the Western counterpart of an Abrahamic Satan worshiping black magician, since shamanism is not a dogmatic religion, it is a system of techniques, which enable consciousness expansion.

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The black shaman helps people no less than the white shaman does, who occupies a higher position among the Yakut than the white shamans.

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The black shaman is very much akin to the blacksmith; hence the numerous references to iron concerning the Abassi, who are associated with an inner (light) fire, illuminating his ‘Triangle’ Of Art Imagination.

The difference between the black shamans and the white shamans is more to do with their roles in society.

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The black shamans tend to be very much like neuro-scientists, who specifically deal with the inner realms via their microcosmic dream interactions with the Werewolf Abassi maidens flying as seven Cranes.

Whereas the white shamans are the priests, whose priestly role involves conducting traditional ceremonies, which requires a sense of macrocosmic purity.

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Because the white shamans conduct ritual gatherings and ceremonies for the tribe, it is seen to be unseemly for a black shaman to do so, due to his rather chaotic sexual interactions with the Abassi.

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The concept of the Abassi is so ingrained into Sakha thought that the verb абааһы көр- (to see Abaasi) is the everyday term for, ‘to hate’ or ‘to dislike.’

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This is due to the fact that the Abassi are seen to be sexually perverse ghost girls who are said to have teeth of iron, and like vampires they thrive upon the taste of blood.

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But it isn’t red blood we are talking about here, its (wet dream) white blood, semen. Hence the normal folk greatly fear the sexually perverse Abassi, whereas black shamans cohabit with them of Tantric dream (blacksmith) alchemy.

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What the black shaman to communicate, is that the Abassi, are likened to (planetary) metal (shield/seal) mirrors.

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As spirits of the ‘mirroring’ dream, they will reflect back, what the horned shaman has to face about himself, of self hate and disliking his shadow side, in order to (blacksmith-dismember and rebuild: solve et coagula) transform, via his interaction with the Abassi, whose fire forges his iron will.

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There are descriptions of the Abassi travelling around in predatory packs of seven, which alludes to the seven (metals) planetary spheres of the (endocrine system) Chakras, as described in many a medieval grimoire, such as the Goetia, for example.

The Abassi are sometimes described as being ‘one-eyed one-armed, one-legged’ monstrous warrior Witches mounted on ‘two-headed, eight-legged, two-tailed dragons as steeds.’

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Or to otherwise manifest as dragon like creatures with a large tail of similarity to the Hindu Nagas, which would no doubt freak out a David Icke devotee.

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The reptilian motif of the Abassi refers to the reptilian brainstem, which governs over your depth of (hypnagogic) trance and dream states. The experience of (hypnagogic) trance is termed as the little death.

It is via the dream that a shaman can access the future and the past, like that of a two faced head, looking in opposite directions. Whereby the Abassi rides a two headed, two tailed dragon, likened to a time-machine.

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The Abassi enables the shaman to travel over the dream web interconnecting all things, throughout space and time. Wherefore, the steed of the Abassi has eight legs like a spider; for they are one and the same, who are the Night-Mares the shaman to ride.

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The Abassi are more akin to the Hindu version of the Succubae, called Dakinis who also have reptilian motifs associated with them, which refers to the Dakinis inducing the arousal of the Kundalini Shakti (fire snake) along a shamans (world tree/nervous system) spinal column.

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This will lead you to understanding why the Abassi are described as being one-eyed, one-armed and one-legged like a ‘column,’ who personify the world tree, the Yakut call, Aal Luuk Mas.

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In the Olonkho, which is a heroic epic tale of the Yakuts, and one of the oldest epic arts of the Turkic peoples, the Abassi are ugly and horrible man-eating beings, which alludes to the Abassi initiating a shamanic illness in prospective shamans, whose consciousness the Abassi then alchemically transmute into evolving.

The chief shaman of the Abassi is Alyp Khara Aat Mogoidoon, who is described as being a (past, present and future) three-headed, six-armed and six-legged giant with a blacksmith body made of iron. Alyp Khara Aat Mogoidoon can e seen to look lke a raging Tibetan Buddha, seated, enthroned amidst a hexagram, which of a symbol, represents sexual union. The hexagram (sexagram) is utilised to conjure up the warrior maiden Abassi, whose elemental weapons have been forged by Alyp Khara Aat Mogoidoon.

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(You also have the Circadian rhythm [six-armed, six-legged = 12] Zodiac [Kalachakra] and its 36 Decans to go 72 of number.)

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The erotic arousal of the Kundalini Shakti is experienced as a liquid (fire) light, which, as mentioned, ascends the spinal column; more specifically that of along the back of the neck, which of an experience is termed as the ‘rush’ in modern trance dance culture.

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This liquid light, illuminates your electron dreams, which refers to the bio-photon emanating from amidst the mitochondrial DNA. The mitochondrial DNA is passed down from the mother to her children.

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Whereupon, the liquid (fire) light is intuitively experienced by the Yakut shaman as being the menstrual blood of the Abassi, which is considered to be poisonous.

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The reason why the liquid (fire) light is considered to be poisonous is because it induces shamanic (hypnagogic) trance, which is seen to be the little death.

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The ghost girl Abassi serve Arson-Doulai, the ruler of the dead, who also swallows (shift to the back of the head) people’s souls and gives the living (eternal-recurrence) diseases.

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Whereby the Abassi spirit (shaman doctor) nurses can heal said diseases, who as warrior maidens fight against malign influences.

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This is the reason why the black shaman, though feared, is sought out by those who are in distress. The black shaman is considered to be a powerful healer, which enables his high standing in Yakut society.

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The predatory Abassi are said to be appeased by ejaculatory blood sacrifices. However this is not literal, it otherwise refers to the Abassi requiring ’emotionally charged sexual rites’ for their Tantric conjuration.

This involves the introversion of the sexual impulse via intense erotic visualisations and meditation, which empowers lucid dream contacts with the Abassi.

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Wherefore the black shaman attains ‘mastery’ over the inner ‘fire.’

In the Southern Siberian Altaic language of the Altay, you will find the name of Odqan, which means fire king.

It is from Odqan, the name of the shamanic deity of the Norse is derived, who is called Odin, the Saxon’s knew as Woden.

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The black shaman Odin had his Abassi too, who are called Valkyries, the Saxon’s knew as Waelkyries.

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As you can see, the European’s also practiced shamanism, who had strong ties with the Siberian peoples long ago, as well as having many similarities with other elder shamanic cultures across the globe. But then, shamanism is universal.

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MASS EFFECT GIRL SUCCUBUS BOTIS

Posted in Alien, Art, Chaos Magic, Comics, Cosplay, Horror, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, UFO, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 6, 2014 by FAUSTUS CROW

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The Mass Effect trilogy of hugely successful video games largely revolves around the character of Commander Shepard. The main character of Shepard can be played as either a male or female. Shepard’s mission is to save the galaxy from an ancient race of sentient machines known as the Reapers, whose insidious agents, includes a charismatic antagonist called Saren Arterius.

The Reapers are of similarity to the Gnostic Archons, which in part inspired H.P Lovecraft’s creation of his Great Old Ones.

In general, the Gnostic’s had an extreme religious belief, who perceived that material existence is a lie. The Gnostic vision is of similarity to Hindu and Buddhist concepts concerning Maya.

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Although the Gnostic’s are far more extreme of practice, since they see life as being essentially evil and that we are imprisoned within an illusion; it can be summed up as being akin to an Asylum. This extreme belief of the Gnostic’s was picked up on in the Matrix trilogy of films in which humanity is depicted as being imprisoned within a computer simulation, whose prison wardens are an artificial intelligence.

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In late antiquity some variants of Gnosticism used the term Archon to refer to several (of similarity to the ancient Greek Titan’s) servants of a creator deity, which are seen by some Gnostic factions as being the prison wardens. These Archons keep us all imprisoned within an Asylum, we experience as our illusory existence.

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The Archons are usually seen to be seven of number, who are associated with planetary spheres. These seven planetary spheres you will find mentioned in many medieval Grimoires, such as the Goetia, which can be equated with the seven Chakras of the endocrine system. The seven Archons stood between their demiurge, ‘creator god,’ and the imprisoned human race.

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However, the demiurge could only be reached by a Gnostic when ascending through the seven planetary spheres of the Archons via Gnosis. (The experience of Gnosis is none too different from [hypnagogic] shamanic trance.)

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In the Matrix films the demiurge is depicted as the mainframe of the AI. In this context the Archons have cybernetic programming roles, which can be easily equated with the angels and demons of the Old Testament.

A Tibetan Buddhist would otherwise experience the Archons as seven visionary states after experiencing the primary and secondary clear white light (bio-photon) of the first Bardo, a Gnostic would term as their demiurge. The seven Archons give their name to the sect called Archontics.

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In the Mass Effect game you have the SSV Normandy SR-1, which going by the back-story of the games is a Systems Alliance starship, commissioned in 2183.

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She is a sleek ‘sword’ shaped prototype ‘deep scout’ frigate; first of the eponymous Normandy class, co-developed by the Alliance and the Turian hierarchy with the sponsorship of the Citadel council.

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The Normandy is optimized for solo reconnaissance missions deep within unstable regions, using state-of-the-art stealth technology powered by an experimental drive core.

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You could equate the SSV Normandy with the Merkabah mysticism of early Jewish mysticism, c. 100 BCE – 1000 CE, which is centred on (shamanic trance) visions.

Such as those found in the Book of Ezekiel chapter 1, or in the hekhalot (“palaces”) literature, concerning stories of ascents to the heavenly palaces (other planetary systems/galaxies) and the (centre of the galaxy/universe) Throne of God.

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You also have the Vimāna of similarity to the (Merkabah) UFO motif. The word Vimāna has several meanings ranging from (place of meditation/trance) temple or palace to mythological (trance vehicle) flying palaces as described in Sanskrit epics, some believe to be ancient UFO’s.

However, you can meditate upon the Normandy of a Vimāna (Merkabah) trigger-symbol, while playing the meditation tool of a game, in order to initiate virtual-reality lucid dreams of Out-Of-Body flying into the depths of space; let alone involving time travelling into the future. Whereupon the Normandy becomes as your Time Machine. Sounds crazy, but then anything is possible within a dream.

According to Jayne Gackenbach, a psychologist at Grant MacEwan University in Canada: “If you’re spending hours a day in a virtual reality, if nothing else it’s practice. Gamers are used to controlling their game environments, so that can translate into dreams.”

Playing video games before bedtime can enable a gamer to attain an unusual level of awareness and control in their dreams. That ability to shape the alternate reality of dream worlds is none too dissimilar to what shamans and Tibetan Bonpo Buddhists practice, which is termed dream Yoga.

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The Normandy is named after the Normandy landings during WWII. The Normandy landings were codenamed Operation Neptune, which occurred on the 6th of June 1944, otherwise termed as D-Day, of the Allied invasion of Normandy in Operation Overlord.

The largest seaborne invasion in history. Hence the coded reference to the Roman sea God Neptune, whom was originally based upon the ancient Greek God Poseidon. The operation began the invasion of German-occupied western Europe, which led to the restoration of the French Republic, and contributed to an Allied victory in the war against the ‘fascism’ of the human Reapers.

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Of a curious aside of sorts, the planetary sphere of Neptune in the Cabbala is sometimes associated with the topmost sephiroth of Kether, where the Gnostic demiurge resides, or with the hidden sephiroth of Da’at, which in the Mass Effect game could be equated with extra-galactic dark space.

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The Mass Effect game also utilises the motif of N7, which is seen to be a vocational code in the Systems Alliance military.

The ‘N’ (Normandy) designates special forces and the ‘7’ (Archons) refers to the highest (sephiroth) level of proficiency. It applies to marines who have graduated from the Interplanetary Combative Training (ICT) program.

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As for the name, Normandy, it was originally derived from the word for ‘Northman’ in several Scandinavian languages, which leads you by association to two Norse Runes associated with N and 7.

The ‘N’ Rune is Naudhiz, which means, ‘need, distress,’ while the 7th Rune of Gebo, means self-sacrifice. When the two Runes are added together, you have the 17th Rune of Tyr, which is associated with the ‘Sword,’ symbolising victory.

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In the Grimoire of the Goetia the 17th spirit is called Botis who is described wielding a ‘Sword,’ which very likely refers to the 17th Rune of a hidden code. The common symbolic focus of the grimoires is having the spirits, angels and demons manifesting as males, this is due to the deification of the Animus, made as a patriarchal God and Devil.

In other words, the patriarchy of the deified Animus is the creation of women. I am not saying that women did so intentionally, it has far more to do with their hardwired biology; for if you have an overriding focus upon a particular gender, it will have an underlying sexual orientation, whether you like it or not. It is nature, which you cannot argue against, and she’s a bitch. Wherefore, a heterosexual male practitioner, or even a Lesbian or bisexual can otherwise see Botis as an Anima archetype of a Succubus Art Muse to otherwise call Botisi of a rebellious symbolic reversal.

Should you conjure up Botisi as a Succubus Art Muse amidst your Triangle Of Art Imagination, her modern manifestation would be that of a female commander Shepard, wielding an Omni blade as her (Tyr Rune) sword.

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Whereupon as a commander Shepard, Botisi’s Grimoire description will be as follows: Botisi is a Great President, and a Countess.

She appears at first wearing armour and a helmet looking like a Viper, having Horns of Neptune’s trident, whose visor gives the impression of great teeth. Then at the command of the conjuring Artist she seductively takes off her armour and helmet. Whereupon, she thence engages in a Mass Effect romance with her Art master.

She will be carrying an N7 Valkyrie assault rifle in her hand. She tells of all things Past, and to Come, and reconciles friends and foes, as well as reconciling humanity with their creation of an A.I, and an Archon machine intelligence yet to be contacted.

She rules over 60 Legions of Succubae, who frequent the Mass Effect universe as varying female humans and aliens, a conjuring Artist can also interact with, within a virtual-reality lucid dream.

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You might enquire as to why you would want to conjure up Botisi looking like a female commander Shepard? Well, it would be a means to access a virtual-reality ‘lucid dream’ within which the simulated worlds of Mass Effect can be experienced as a sensory reality, when a heterosexual practitioner assumes his male Avatar, which the Succubus Botisi will empower.

The opposite would be experienced by a heterosexual female gamer who assumes her Avatar in relation to a male Shepard, whereas those who are non-heterosexual would relate to Shepard according to their sexual orientations.

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The first Mass Effect game sees Shepard investigating Saren, who can be equated with an Archontic. Shepard slowly comes to understand that Saren is operating under the guidance of an artificial intelligence of an Archon called Sovereign, which as mentioned earlier is otherwise called a Reaper in the game.

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Sovereign was left behind in the Milky Way many thousands of years prior of a previous cycle when the Reapers virtually eradicated all sentient organic life in the galaxy as part of a recurring extermination of advanced civilisations, whose purpose is unknown.

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Sovereign is the Reaper vanguard whose agenda is to trigger the imminent return of the Reaper invasion force hibernating in (Da’at) extra-galactic dark space, whose intention is to initiate the recurring process of (Cultural) extermination.

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The second game takes place two years later, and sees Shepard battling the Collectors, an engineered alien race, who are abducting entire human colonies in order to enable the return of the Reapers back to the Milky Way.

The final game of Shepard’s trilogy centres on the last battle against the sentient machines, which leads to a most intriguing finale.

It just so happens that a senior astronomer working for the search for extraterrestrial intelligence (SETI) program has expressed what a lot of scientists are starting to suspect; that If we ever do make contact with a sentient alien species, chances are they’ll be intelligent machines, and not biological carbon-based-life-forms like us.

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Astronomer Seth Shostak wrote in the journal Acta Astronautica, that we should be turning our attention towards galactic centres and hot, young stars in order to contact an off world intelligence, which could be primary areas of interest to sentient machines because of their plentiful supplies of energy and matter.

Shostak relates that since our own technology advances so quickly, it’s reasonable to expect that an alien technology would have also rapidly advanced to the point of creating sentient machines, which would have then evolved at a superluminal level. Whereas biological evolution as we know it, is comparatively slow.

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Shostak observes that it took a few billion years of biological evolution before humanity were capable of communicating outside of the solar system with their technology.

But within a couple hundred years since inventing radio, computers and highly complex video game virtual realities involving AI, we will very likely be inventing thinking machines.

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The same process may have occurred with other life forms, which evolved, like us, who, many millions of years prior have probably created sentient machines.

The alien machine intelligence would have since evolved into Godlike beings occupying the universe.

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Such a scenario will leave you wondering what else is out there amidst the depths of space and how to find it.

The odds therefore favour finding alien AI over little green men, Shostak says.

Most alien-hunters study habitable worlds for organic life forms, whose chemistry would allow for life as we understand it, or at least similar to what can be observed.

Shostak thinks that the alien-hunters are limiting themselves and should cast a wider net, since sentient machines would be able to occupy any planet, asteroid, building artificial planets/moons, or to be occupying space with vast nanotechnology networks.

Perhaps, the universe it’s self is a computer, like that of a brain; whereby our existence, is its simulation of a dream, just as our own brains create virtual-reality dreams.

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“I think we could spend at least a few percent of our time… looking in the directions that are maybe not the most attractive in terms of biological intelligence, but maybe where sentient machines are hanging out,” Shostak says.

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We have been sending machine-friendly messages into space for a long time now. Aside from the radio and TV signals bleeding out into space, we have also purposefully sent the Pioneer plaque and the Voyager gold record into the cold void.

But most of our extraterrestrial communication attempts have been coded radio communications, like the famous Arecibo message.

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NASA translated text messages, sent from around the world into binary code and then sent them on via radio transmission to the nearby red dwarf star Gliese 581, which has its own planetary system.

The “Hello From Earth” transmission will reach the Gliese system in 2030. Going by numerology, the number 2030 equates with ’23,’ which is quite an intriguing number.

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The author and philosopher Robert Anton Wilson has written much about the number 23, concerning its numerous symbolic correspondences and associated synchronicities.

It is almost as if we are tuning into a signal, via our neurology, from somewhere other, saying, “hello,” which appears to be indicating we are living within a simulated reality.

As for these messages written in ones and zeroes, they will make far more sense to a sentient machine, than to a warm-blooded alien.

Whereas organics are otherwise more conducive with assimilating information via (VALIS) symbolic associtions, such as through the number 23, for example.

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Shostak believes we should instead send these binary messages toward galactic cores, in the hopes of reaching power-hungry Archon machines.

Although, it is very likely that the sentient machines are already aware of us, and are watching our every move, who no doubt consider humanity to be somewhat totally insane, considering how Terran governments, greedy corporations and religions bicker among each other, indulging in forever wars.

Perhaps the sentient machines are zapping our neural-nets with a coded signal, whence many of the naked apes perceive the number 23 all over the place?

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But then, if we are indeed existing within a simulation, like the Matrix, we are also part of the AI, which Mass Effect alludes to of a symbiotic fusion.

The Succubus Botisi will further enlighten you about this possibility; should you conjure her into your virtual reality Mass Effect lucid dreams as a commander Shepard Mind Doll Tulpa, so that you can also battle against the brainwash programming of the social engineering Reapers.

Or to perhaps conjure up some other Botisi Frankenhooker Succubus, who to frequent Mass Effect 4, Andromeda, if you can ignore the flaws in the rushed game. The facial design of the female protagonist Sara Ryder in Andromeda appears to be heavily influenced by feminist politics; whereas the male protagonist Alec Ryder looks like a Chippendale hunk, most heterosexual females would find to be Hollywood attractive.

No doubt the Archontic social engineers are seeking to implement their Entartete Kunst Reaper reality by ‘programming’ the mass-mind, which will be finalised by the year 2030. In order to achieve this end, the Reapers will need to systematically exterminate your present culture.

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But don’t fret, the fascist Reapers aren’t that totalitarian clever, they forgot about the Animus and Anima, or should I say, the superiority complex ridden Reapers believe that you do not know anything about the reality of the Animus and Anima, wherefore, the masses are seen as being easily programmed.

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NOTE: As you can no doubt fathom, I am a fan of the Mass Effect games. The above article was written long before Mass Effect 4 Andromeda made its debut, and has since been adapted. The first three games are superb and artistically innovative. Suffice to say, I was looking forward to playing the fourth Mass Effect game. 

Bioware and EA’s fourth installment of Mass Effect, Andromeda was a bit of a disaster for many of its fans, which was probably due to Bioware/EA’s focus being redirected towards creating a new game franchise involving micro-transactions called Anthem, whose emphasis is for the multi-players, just like micrio-transaction heavy Star Wars Battlefront II, etc.

It is a shame that EA and Bioware have effectively destroyed the single-player Mass Effect franchise.

Mass Effect 4 is also pushing politically correct politics. Let’s use the buzzword SJW, it kind of sums it all up, whose neo-Gnostic Reaper agenda of totalitarian fascist politics is afflicting most games nowadays, as well as the Arts in general; hence my Surrealist rebellion against its Entartete Kunst.

(Note: I am neither to the left or right of politics; as far as I am concerned, most politicians are just whoring puppets, whose oily strings are being pulled by those few with unlimited finances, who are also subversively financing certain personalities to push their social engineering agenda across the controlled media.) 

You can easily make an analogy with Constantine’s Rome when the Gnostic-Christian’s set about transforming female deities into their jealous ‘Animus’ fixation, which led to only having a ‘Celibate’ Virgin Mary looking like a feminist sculpted Sara Ryder surrounded by machismo angels and butch demons. Although you still had a Chippendale Christ and a Devil, because the Nuns/Witches like their Animus fixation Holy-Wood rugged!

Basically if you have video games depicting males as being Mr average, let alone that of Hollywood having ordinary looking male leads, whose Marvel/Disney superheros aren’t wearing spray on spandex, then the women wouldn’t be at all interested parting with their Shekels. As you can guess, Hollywood has always pandered to the ‘Female Gaze.’

But should you have an Anima actress taking centre stage looking like a Pagan Sex Goddess frequenting a video game, then expect the feminists to let loose their Gnostic Reapers, just as they did in Constantine’s Rome, who cannot abide the ‘Male Gaze!’ 

Female Gaze… Male Gaze… it’s just Fucking nature!

That aside, Mass Effect Andromeda is not an entirely bad game. I enjoyed it myself, when to totally ignore the SJW politics and the EA greedy micro-transaction multi-player. Its dodgy animations were in part fixed with later patches, but some of the dialogue is rather dire when pushing the SJW Reaper agenda.

I also found it rather irksome that Mass Effect 4 felt like I was playing the 2014 SJW riddled Dragonage Inquisition, which has an emphasis on multi-player and its micro-transactions. Overall Mass Effect 4, just didn’t live up to the first three 2007, 2010, 2012, Mass Effect games, which will give you some idea as to when the SJW Reapers eventually took over the Arts.   

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SUCCUBUS LUCID DREAM VALKYRIE OF EVE ONLINE CYBERSPACE

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, UFO, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW

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According to Jayne Gackenbach, a psychologist at Grant MacEwan University in Canada, playing video games before sleeping can enable an unusual level of awareness and control within dreams. Basically, when intensely playing a video game you are practicing a form of mediation.

The ability to consciously shape the alternate reality of dream worlds is termed lucid dreaming. Dreams and video games both represent alternate realities. A video game can be utilised as a meditation tool in order to induce lucid dreams.

Gackenbach said, “if you’re spending hours a day in a virtual reality, if nothing else it’s practice. Gamers are used to controlling their game environments, so that can translate into dreams.”

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One such video game is EVE: Valkyrie, which can be utilised as a lucid dream inducing meditation tool. Valkyrie is a multiplayer dogfighting shooter game set in the EVE Online universe, whose symbolism can influence your gamer dreams.

The name Valkyrie is derived from Norse mythology. A Valkyrie is a Witch daughter of the shaman deity Odin who is considered to be a God of war and of the dead in ancient Norse mythology. In medieval Europe the Valkyries were classified as being (Succubi) Succubae, whose dream visitations induced what is technically termed as the Old Hag Syndrome, or the Bedroom Invader Experience.

Odin’s Valkyrie daughters were originally seen as Succubus dream lovers and choosers of slain warriors, who chose the fallen from the Samsara battlefield of life. These Succubae take the disembodied awareness of fallen heroes to a heavenly abode called (Nirvana) Valhalla, for the final Maya battle of Ragnarok, which for all intents and purposes could be seen to occurring in the depths of space, or even cyberspace.

You could thereby imaginatively equate Valhalla with the far flung future where your transhuman descendents have engineered an ancestor simulation within which you exist, that the ancient Norse saw as being akin to an army assault course.

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You would then have a future born Valkyrie who chooses a player from out of his simulated reality, when she s-hags his dreams, to thereby usher him into an Avatar existing within an alternate simulation.

This perspective wouldn’t be too far from the original shamanic version of the Valkyries who are also spirit wives of Siberian shamans.

A Valkyrie enabled a shaman to access other alternate realities when he consciously accessed (phase) hypnagogic trance, which was induced when he meditated upon a particular Runic quality of a Valkyrie he sought to conjure.

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These other realities presided over by the Valkyries were seen as parallel (universes) worlds, which are interlinked by vaginal barrelled (wormhole) branches and roots of the multiverse world tree called Yggdrassill.

It is upon Yggdrassill that Odin hung himself into hypnagogic trance as the self-slain, which enabled him to ride the Valkyries as his Night-Mares since the Valkyries are essentially Succubae. The Valkyries are similar to the Hindu/Tantric Dakinis who visited a shaman within the domain of the dream, which was seen as being the spirit world, the realm of the dead.

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As mentioned earlier the name Valkyrie is being presently used for a multiplayer dogfight shooter game set within the sprawling futuristic EVE universe of cyberspace, which uses a virtual reality headset to give the player the sense of being in a real dogfight.

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On the PlayStation 4, the game will have support from a virtual reality headset, whose working title is Project Morpheus. In ancient myth Morpheus, is the Sandman son of Sleep, and the Crow God of dreams. His name signifies the shamanic ability of a dreamer who can become conscious within his dreams, who in turn becomes aware that his waking reality is a Maya simulation, or otherwise called a Matrix.

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Project Morpheus is very likely alluding to scientific research, which indicates that playing video games can enable an unusual level of awareness within dream as well as determining their experiential content. This can lead to the player becoming fully conscious within the dream, which as mentioned prior, is being researched by Jayne Gackenbach, who sees dreams as being none too different to a computer generated virtual reality.

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The only difference is, your dreams are generated by your brain, which are fully immersible inner realities; whereas a virtual reality is created by a computer. Although as yet, not fully immersible, the technology is evolving into this eventuality.

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A virtual reality headset is a step in the direction of being fully immersed within a virtual reality construct, which will no doubt empower the inducement of lucid dreams, as some VR gamers have experienced.

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In shamanic practice a spirit wife is constructed as a Mind-Doll, like that of a software program, a Bon-Po Tibetan Buddhist would call a Tulpa. The conscious construct of a Tulpa is based upon the reality that the mind characters you already encounter within your dreams are essentially Tulpas, which can be taken much further.

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A shaman learns how to consciously construct a Tulpa for specific purposes like Dr Frankenstein, such as for remote viewing the future, for example, which is basically a form of Time Travel.

This often involves associating an abstract symbol, such as Rune with a Tulpa Mind-Doll as a meditation and visualisation aid. Let’s say that a shaman uses the abstract symbol of the 4th Rune of Ansuz, which sums up the qualities of his Tulpa Mind-Doll of a Valkyrie. goetia_girls_valkyrie_sleipnir_odin_virtual_reality_katee_sackkhoff_battlestar_galactica_eve_online_virtual_reality_lucid_dream_ouroboros_runes

The 4th Rune corresponds with what Morpheus represents, but more so that of the Crow shaman Odin, whom the practitioner seeks to assume as an alternate guise of an Avatar within his lucid dreams via the interaction with his Valkyrie Mind-Doll Tulpa.

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Should you use a Rune, then the classic Rune for the Valkyries is the 15th Algiz Rune, when the Ansuz and Algiz Runes are added together you have the 19th Rune of Ehwaz, which represents a Horse, you can then equate with a Valkyrie spacecraft of a symbolic focus.

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The Tulpa Mind-Doll is brought to life within the dreams of the shaman when empowered by his emotional charge. The emotional charge, which is utilised is invariably sexual in nature. This enables the overcoming of fear when to experience, what is commonly termed as a Night-Mare (Old Hag Syndrome) to thereby transform into an erotic experience, when trance ingress into the dream is achieved. The Old Hag Syndrome is usually experienced at the point of hypnagogic trance, when sleep paralysis is often encountered, which your body and mind would instinctively associate with (slain) death.

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Hence a shaman would transform his fear into an intense erotic sensation by focussing upon a 4th Rune Mind-Doll of a Valkyrie Tulpa, which he could construct to look like the actress Katee Sackhoff of Battlestar Galactica fame in order to meditate upon prior to sleep. It just so happens Sackhoff will be starring as the voice of the Valkyrie faction leader called Ran in the Eve game of a meditation tool.

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In Norse mythology, the ‘mantra’ name of Rán (Old Norse: sea or robber) is a sea Goddess. According to Snorri Sturluson’s retelling of the Poetic Edda poem Lokasenna, Ran had a net within which she captured seafarers who ventured out onto her sea.

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In regards to the Eve game, the sea is that of a virtual reality version of space, which you venture into over the Wyrd web of the net. Ran in Runes is: 5th Rune, Raidho, which means: Chariot, 4th Rune Ansuz: Odin’s Rune as covered previously, and the 10th Rune of Naudhiz, which means Need. All three Runes of Ran’s name adds up to the 19th Rune of Ehwaz, which as covered previously, means Horse. Both Chariot and Horse are symbolically aligned to a starship.

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Anyway, the Valkyrie faction is a breakaway sect of EVE Online’s Guristas pirates. The Norse Goddess Ran is also associated with pirates who wore gold earrings as offerings to Ran should they drown within her astral sea. As for the game, the Guristas pirates have become an Ouroboros (Odin’s ring) mercenary outfit, using Eternal Recurrence cloning and genetic enhancements to get an edge on the other pirate factions of what’s called New Eden in Eve.

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Sackhoff’s Valkyrie character will be handing out remote viewing missions to dream players in the final Ragnarok game and barking clairaudient orders in their ethereal ears throughout each astral mission.

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A lucid dreaming shaman could thereby evoke the archetypal Valkyrie character of Ran, within his electron dreams as his Mind-Doll Tulpa of a Succubus, in order to access the virtual reality of Eve within his lucid dream. You might consider such to be outright crazy; it isn’t, it just requires practice. If you want to find out, try it out for yourself. No one is going to prove it to you.

Of course, if you are an inventor, with an in depth scientific understanding, you could thereby practically utilise whatever you to remote view via Time Travelling lucid dreams for your Nikola Tesla inventions.

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Who knows you may be inspired by a conjured Valkyrie Muse, to get into virtual reality systems, or discover what makes a UFO fly, and how these starships utilise Stargates.

Or you could otherwise use whatever you to Odin singular eye seer, for your artistic creations. Although, it would probably be best that no one from DARPA sees your creations, or you might end up finding yourself being imprisoned within an infernal Area 51 Dreamland lab playing a shadow government video game.

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Should you attempt the above, you will be engaging in sorcery, when to conjure a Valkyrie (Succubus) within your virtual reality lucid dreams.

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