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STAR WARS: THE EMPIRE NEVER ENDED

Posted in Alien, Chaos Magic, Extraterrestrial, Film, Occultism, Science Fiction, Shamanism, Star Trek, Star Wars, Succubus, UFO, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 11, 2015 by FAUSTUS CROW

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In the mythology of the Star Wars universe, you have the all encompassing Empire. The word, Empire, originated from the Latin, Imperium, from which, Imperialism is derived. The term, imperialism is a type of an advocacy of Empire, meaning to rule over large territories.

Imperialism is a policy of extending a country’s power and influence through colonization, which is sustained through its technological superiority of a military industrial complex.

Other means are also used, such as by utilising economic warfare as well as propaganda, of a mind-control tool, which is smoothly accomplished of media social engineering via an established centralist religion.

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The Galactic Empire of Star Wars is also described as the New Order. The term New Order is derived from the term New World Order, abbreviated as NWO.

The term New World Order commonly refers to the emergence of a totalitarian one world government, which has centralised its fascist politics of a religious theocracy across the globe.

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In Star Wars, the New Order arose as a result of the fragmentation of the Galactic Republic, whose governing power was decentralized.

Whereas the New Order of the Empire championed centralism, which advocated an authoritarian and militaristic social and political culture spanning the galaxy.

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The Empire promised to trade frailty for strength, chaos for order, and uncertainty for decisiveness. Basically, the Empire promises to make the galaxy great again.

The Imperialist politics of New World Order centralism can also be found in the feudalist hierarchy of Angels, which holds that there are different levels or ranks of Heavenly Angels.

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Higher ranks may be asserted to have greater galactic power or authority over lower ranks, and with different ranks having differences in appearance, such as varying numbers of X wings or helmeted heads, of masked faces.

These Angels are arranged around a deified ‘Animus’ made as a God, who is essentially an Emperor ruling over an Empire. In other words, the Angelic hierarchy symbolises what is occurring in the terrestrial world; its belief system is being sustained by a self-perpetuated indoctrinated focus upon the religious politics of Imperialist centralism, which can be summed up as the New World Order.

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The New Order’s ideology in Star Wars is pervasively (Animus) male orientated, which is not only due to it being based upon the centralist politics of the New World Order, but also because of a (deified Animus) patriarchal religious influence.

This religious influence is symbolically encapsulated by the Angelic hierarchy of the patriarchal (Animus) grimoires, which is well established in the Hebrew Bible of the Talmud and Rabbinic literature, as well as traditional Jewish liturgy.

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The Angels are categorized into different Cabbalistic hierarchies as proposed by various theologians.

For example, Maimonides, in his Mishneh Torah or Yad ha-Chazakah: Yesodei ha-Torah, counts ten feudal ranks of male Angels emanating from the ten (Sephiroth) planetary spheres of the Cabbala.

The Hebrew Angelic hierarchy influenced the Angelic hierarchy of the Romano Christian’s who had appropriated the ancestral-self-identity of the Hebrew’s as their own, which was put forward by Pseudo-Dionysius the Areopagite, in the 4th or 5th century, as described in his book: De Coelesti Hierarchia (On the Celestial Hierarchy).

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During the Middle Ages, many Angelic hierarchies were proposed, some drawing on and expanding on Pseudo-Dionysius, others suggesting completely different feudal classifications. According to medieval Christian theologians, the Angels are organized into several feudal orders, or ‘Angelic Choirs,’ all of whom are armoured for celestial battle

Pseudo-Dionysius (On the Celestial Hierarchy) and Thomas Aquinas (Summa Theologica) drew on passages from the New Testament, specifically Ephesians 1:21 and Colossians 1:16, to develop a schema of three celestial Hierarchies, Spheres or Triads of Angels, with each hierarchy containing three Orders or Stormtrooper Choirs.

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As for the centralist religion of Islam, which also appropriated the ancestral-self-identity of the Hebrew’s, there is no standard hierarchical organization, of a parallel with the Christian division into different militarised ‘choirs’ or planetary sphere dominions; it is a topic, which is not directly addressed in the Quran.

However, it is clear that there is a set order or militaristic hierarchy existing between the Islamic Angels, as defined by the assigned jobs and various tasks to which the Angels of the Quran are commanded by their (Emperor/Animus) God, Allah.

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Some scholars suggest that Islamic Angels can be grouped into fourteen militaristic categories, with some of the higher orders being considered Archangels; one of whom no doubt looks like Darth Vader.

The centralist hierarchy of the Abrahamic (Animus) Angels, whether they be of the Judaic, Christian or Islamic of shared Imperialist religious politics are forever warring against the (Fallen Angels) Demons, who equate in the mythology of Star Wars with the Alliance, whom seek to restore the Old Order freedoms of the Republic. Basically, the Republic equates with the Roman Republic of pre-Christian Pagan (Animist) Rome, which is traditionally dated to have lasted from 509 BC, and ending in 27 BC, with the establishment of the Roman Empire.

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The Alliance is an interstellar faction, whose forces, rebel against the New Order of the Galactic Empire, throughout the Star Wars galaxy.

The Galactic Empire equates with the demise of the Roman Republic, during  27 BC, when Octavian was granted the use of the names, ‘Augustus’ and ‘Princeps,’ indicating his primary status above all other Romans, who revered the God, Mars.

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Octavian then adopted the title ‘Imperator Caesar,’ making him the first Roman Emperor. The Star Wars Alliance are commonly known as the Rebel Alliance, and, informally, as the Rebellion.

The Rebel Alliance was first featured in the 1977 film Star Wars, which featured Princess Leia who equates with the ancient pre-Christian Roman (Anima) Goddess Diana Lucifera.

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It was the ‘Anima’ archetype, Diana-Lucifera who led the Rebel Angels as the main Biblical antagonists.

But then the centralist politics of the ‘Animus’ fixated monotheists had demonised the elder Pagan faiths, and in turn demonising the ancestral-self-identity of the European’s.

Hence Diana-Lucifera was transformed into an ‘Animus’ fixation of a male, Lucifer by the patriarchal cultists. (Curiously, Diana Lucifera holds a torch, just as the Statue of Liberty does.)

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Leia (Diana Lucifera) was also in the Star Wars sequels: The Empire Strikes Back (1980) and Return of the Jedi (1983). The faction’s origins were alluded to in Star Wars Episode III: Revenge of the Sith (2005).

The early activities of the Rebel Alliance are featured in the Disney television series Star Wars Rebels, who as said earlier, can be symbolically equated with Demons (Fallen Angels) against whom, the Angelic Stormtroopers of the Orwellian New Order Empire of Heaven are at war.

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It turned out that the film director, J.J Abrams did not take Star Wars to a far deeper symbolic level than he ever did with Star Trek, which invariably led to the STD, Star Trek Discovery featuring two characters named after Archangels riding a fiery (Belial) chariot in the shape of he Hebrew letter ‘Shin.’

Abrams of an Abrahamic namesake was probably at ‘Animus’ Military Industrial Complex Empire odds with a ‘Rebellious’ perspective.

If, Abrams is a fan of the author Philip K. Dick, he might start to see the symbolism of the deified ‘Animus’ permeating all levels of society, as being a Black Prison, whose invisible mass-media Matrix incarcerates the indoctrinated-minds of the mass-populace, which presently classifies the influence of the ‘Anima’ as being sexist.

Philip became aware of the Back Prison when he had a rebellious revelation, which was initially triggered by a sexy dark haired girl, who he later symbolically equated with the Sophia.

The Sophia was a one time ancient Greek/Roman Goddess of Wisdom, who is essentially the Fallen ‘Anima.’

Her Muse influence revealed to Philip that THE EMPIRE NEVER ENDED.”

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JUPITER ASCENDING JUST LIKE SPACE GIRL BARBARELLA

Posted in Alien, Art, Chaos Magic, Discordianism, Extraterrestrial, Film, Goetia Girls, Occultism, Science Fiction, Shamanism, Sorcery, Star Trek, Surrealism, Time Travel, Tulpa Creation, UFO, Vampire with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 15, 2015 by FAUSTUS CROW

Jupiter Ascending is the title of a 2015 American–Australian space opera, which was written, produced, and directed by Lana and Andy Wachowski. The film can be generally described as being a cross between The Matrix, Star Wars and a politically correct version of Barbarella. Many of the visuals of the film appear to be heavily influenced by Roger Vadim’s Barbarella as well as by Terry Gilliam’s artistic style. Gilliam’s influence is obvious, since he has a small part in the movie as well. The film also cleverly utilises the UFO mystique concerning the now iconic Greys and UFO abductions.

The principle Barbarella character is Jupiter Jones, who is living her life as an ordinary cleaning woman, until she meets up with Caine Wise, an interplanetary warrior sporting Vulcan ears, though Lupine of hybrid source, who has been sent to protect her from being murdered by Balem of the House of Abrasax, the most powerful of the alien dynasties.

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It is a shame that Jupiter Ascending takes itself so seriously, it would have been far better if it had the slick Barbarella humour of Space Girl.

The Barbarella Space Girl episodes were created by Tom Small, written by the Barely Political Team and Edward Einhorn, which stars sexy Lauren Francesca. As for the name of Balem, it is derived from the 51st Goetia spirit called Balam; whereas Abrasax is the name of Abraxas, who is a Gnostic deity, being a fusion of God and the Devil.

Anyway, it turns out that Space Girl, I mean Barbarella, damn it, sorry, Jupiter Jones is the reincarnation of Balem’s mother. Balem is essentially the male equivalent of Barbarella’s Great Tyrant, otherwise called the Black Queen of Sogo; she is the one who said; “pretty, pretty,” in a most sensual way.

The population of Earth are totally unaware that their far flung ancestors had been originally seeded upon the planet after the then dominant dinosaurs were purposefully eradicated by a technologically advanced seventh type Barbarella civilisation.

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Countless other worlds throughout the universe have also been likewise seeded by the ruling families of trans-human and alien royalty who are somewhat akin to the Gnostic Archons, fused with Vampires, whose genetically enhanced butch stormtrooper soldiers have wings of Angels.

The trans-human Archon families seeded the Earth and that of other planets for the express purpose of later harvesting humans to produce a serum for the elite Vampires, which enables them to become immortal.

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Balem has inherited an enormous serum refinery on Jupiter after his mother’s demise who, like jealous Jehovah seeks to harvest the Earth’s human population, so, he is none too happy that she has been resurrected as a Diana-Lucifera on Earth, since his mother rebelled against the continuance of harvesting humanity’s life-force, for an elite few in Heaven.

The themes of immortality, reincarnation and resurrecting the dead are the main themes of the Barbarella type movie, which is tied up with the planetary sphere of Jupiter.

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The film’s focus upon Jupiter may in part have something to do with the Toynbee tiles (also called Toynbee plaques), which are messages of unknown origin found embedded in the asphalt of streets scattered around two dozen major cities in the United States as well as four South American cities. Perhaps it is a Dadaist joke, or a Surrealistic rebellion, or both, to go viral, of art meme.

Resurrect Dead – The Mystery of the Toynbee Tiles (2011) from Shabda on Vimeo.

Since the 1980’s, several hundred of these tiles have been discovered. They are generally about the size of an American license plate (roughly 30 cm by 15 cm), sometimes considerably larger. The tiles communicate variations of the following inscription: TOYNBEE IDEA, IN MOViE `2001, RESURRECT DEAD ON PLANET JUPITER.

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Toynbee’s idea” stems from a passage in Arnold Toynbee’s book Experiences, pp. 139–142: “Human nature presents human minds with a puzzle which they have not yet solved and may never succeed in solving, for all that we can tell. The dichotomy of a human being into ‘soul’ and ‘body’ is not a datum of experience. No one has ever been, or ever met, a living human soul without a body… Someone who accepts—as I myself do, taking it on trust—the present-day scientific account of the Universe may find it impossible to believe that a living creature, once dead, can come to life again; but, if he did entertain this belief, he would be thinking more ‘scientifically’ if he thought in the Christian terms of a psychosomatic resurrection than if he thought in the shamanistic terms of a disembodied spirit.”

Going by Tonybee’s quote he hadn’t figured on how far computers have technologically evolved, which may lead to individuals uploading (Ascending) their (Jones/John the Baptist/Head) consciousness into a (Matrix) virtual reality, at their eventual ‘Omega Point’ demise. As for the tiles usage of Jupiter, it can be seen as a possible allusion to an occult focus upon Jupiter’s planetary sphere, which is traditionally associated with the number, ‘four.’

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The number four is also used to describe a level of a civilisation’s evolutionary progress concerning the Kardashev scale. The Kardashev scale is used to investigate hypothetical technological levels of future human civilisation as well as possible extraterrestrial civilisations.

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However, the Kardashev scale only describes three types of civilisation; our present civilisation is not even a first type. Although many extensions beyond the three types of the Kardashev scale have been proposed by theoretical scientists.

A type four Kardashev rating for a civilisation can control or use the entire universe. Such a civilization approaches or surpasses the limits of speculation based on current scientific understanding, its technology would be indivisible from magic.

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A Type four civilisation is also capable of manipulating individual atoms, creating nanotechnologies on the atomic scale as well as creating complex forms of artificial life; wherefore overcoming death.

The ‘Omega Point’ theory of physicist Frank J. Tipler would presumably occupy this fourth level, as would the Biocosm hypothesis. Tipler’s Omega Point describes human personalities, being run as simulations within a universe, which has been transformed into a vast computer.

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As a result, after the Omega Point has been reached, humans will have omnipotence, who are able to see all of history and predict all of the future.

Additionally, as all history becomes available, past personalities will be able be to run as (Tulpa) simulations within the (Maya) simulation, who are essentially the resurrected dead.

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Tipler equates this Jupiter (Zeus/Jehovah) state with the Christian heaven. However, it may be a case we are already simulations within an ancestor simulation, being run by a future ‘Jupiter’ level civilisation, which has the capability to time travel browse, through their ‘eternally recurring’ simulation; whereby we are all the resurrected dead within a Matrix.

As an aside, Jupiter Jones is eventually swept up in the Angel wings of Cain Wise who had initially lost his wings for being a bad-boy lupine.

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Cain is somewhat like the blind Angel named Pygar who helps Barbarella in her quest to save the universe from the Great Tyrant.

Pygar states in the Barbarella movie that he is the last of the ornithanthropes and that he has lost his will to fly; but Barbarella soon gives him the will to fly again by riding his rocket.

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Barbarella is a cult classic, which transformed Jane Fonda into a Venus icon, though later considered to be sexist by many feminists; this would have been have been more so the case if her curvaceous form was being assaulted by the ‘fifty’ slimy ‘grey’ alien tentacles of Lovecraftian entities, seeking to devour her aroused flesh.

Whereas Jupiter Ascending has become a favourite of female science fiction fans who are no doubt fans of the Twilight saga, concerning a girl bound between necrophiliac Vampires and bestial Werewolves, which led to bondage Fifty Shades of Grey.

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However, Jupiter Ascending didn’t go down too well with a larger audience who are presently living through the Orwellian war on terror after the Iraq conflict, though some to say it will become a cult classic, just like the space flick, Gravity.

But it will not be in the same league as Barbarella. When you have a film about techno Vampires, immortality and death, it invariably conjures up the opposite of erotica, since sex equals life and creativity. Jupiter Ascending was far too politically correct to depict erotic themes, you to find in Barabarella, which had surfed the Make Love, Not War Hippy zeitgeist age of Aquarius, to also have a sense of Terry Gilliam humour during the era of the Vietnam war.

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Overall, I liked Jupiter Ascending as well as all the other art movies by Lana and Andy Wachowski. The special effects and visuals are quite stunning of an updated similarity to Vadim’s Barbarella. But if a TV series of Barbarella ever gets off the ground, which of a production, is also Entartete Kunst politically correct, due to the Twilight pandering to Fifty Shades of Grey feminists, it will fall like a leaden Angel, without any wings!

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SUCCUBUS SCHOOL OF LILITH’S HAREM

Posted in Art, Chaos Magic, Comics, Discordianism, Film, Goetia Girls, Goth Girls, Horror, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 26, 2015 by FAUSTUS CROW

Within the astral domain of the dream the Succubus school of St Lilith’s can be found, when to become lucid of awareness; wherein a dreaming sorcerer can thence conjure up an Owl eyed Succubus schoolgirl from out of her hierarchal planetary abode of a Harem school, as his Genie. (CLICK On The Images To See The Full Artwork.)

St Lilith’s is none too dissimilar to Hogwarts merged with St Trinian’s; more so that of St Trinian’s, which is an anarchist boarding school for wayward lost girls, whose archetypal creation was conjured up by the English cartoonist Ronald Searle. St Trinian’s later became the subject of a popular series of comedy films of a mass-mind focus.

The first St Trinian’s cartoon appeared in 1941, but shortly afterwards Searle had to fulfil his military service.

He was later captured by the Japanese, when Singapore fell and spent the rest of WWII as a prisoner of war where he endured various horrors in the jungle.

After the war, during 1946, Searle started creating new cartoons about his St Trinian Muses, but the content of his cartoons was far darker in comparison than those previous to his experience of war.

St Trinian’s is essentially the antithesis of the Enid Blyton or Angela Brazil–type posh girls’ boarding school, which of a quaint mind-set swept the horror of war under the carpet.

Like the Dadaist Succubae schoolgirls of surrealist St Lilith’s, the female pupils of Searle’s St Trinian’s are wild and most wanton, who are often well armed with their elemental weaponry, where the currents of Chaos magic is rife.

The St Trinian schoolmistresses are also disreputable, who are otherwise depicted as salacious Nightgaunt Nuns in St Lilith’s, of whom H.P Lovecraft spoke of tickling his midriff; although his puritanical fear of sex, had transformed their planetary sphere visitations into nightmares, he never learnt to ride as his Chakra Mares of the Night.

Searle’s politically incorrect St Trinian cartoons often showed the exquisite corpses of girls who had been transformed into Voodoo dolls, stabbed with pitchforks or had otherwise succumbed to violent team sports, which is of similarity to St Lilith’s Rollerball Quidditch matches.

The Succubae schoolgirls battle with one another in order to hone their Witchery, so that they can be immortalised as two-dimensional illustrations within a sorcerers grimoire, out of which they are then conjured into three-dimensional reality, within a lucid dream.

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The fallen schoolgirls of St Trinian’s sometimes had vultures circling over their exquisite corpses scattering the surrealist battlefield around Searle’s wounded memories of war; who, like knitted together Frankentein Tulpa Ghost-Girls, returned of haunting, drinking, gambling and smoking like Valkyries in their all girl version of a hallucinogenic Valhalla.

It is reputed that the now iconic gymslip style of dress worn by the St Trinian girls was closely modelled upon the uniform of the school that Searle’s daughter Kate attended, being JAGS in Dulwich. The films, which ushered St Trinian’s into the collective unconscious as an archetype implied that the girls were the daughters of underworld gangsters.

The father’s of the St Trinian girls are depicted as crooks, shady bookmakers, and other streetwise types; while their institution is often referred to as a female borstal.

Whereas, the Succubae schoolgirls of infernal St Lilith’s are the salacious Genie daughters of the patriarchal Goetic Daemons, you to find of a common ‘Animus’ fixation.

(Although crafty Sorcerers assume the guises of the raging Buddha male Daemons as their magical personas, and each magical persona of a raging Buddha Avatar is empowered by a corresponding schoolgirl Dakini. It is well known that women have a preference for Fifty Shades Of Grey Bad-Boys, and it is likewise the case with the archetypal Succubus fluctuations of the ‘Anima.’)

But the daughters are truly of the fallen, who have been castigated out of the grimoire picture; wherefore, the real Necronomicon lists them as being the ‘Great Old Ones,’ no one really talks about of Entartete Kunst ‘Anima’ fluctuations, since they are far too politically incorrect of the very risqué.

If you are interested, you can indulge in betting upon a Succubus Schoolgirl Witch Fighter in a FLASH GAME: CLICK HERE.

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GOETIA GIRL STEAMPUNK SUCCUBUS ART MUSE VALEFOR

Posted in Art, Chaos Magic, CREATIVE WRITING, Goetia Girls, Horror, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW

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In an attempt to describe Valefora, the old magicians said she manifested as a roaring Lioness and then as a mad woman riding an ass. But Aaron C. Donohoo’s remote viewed drawing of this strange Succubus doesn’t make her look that way at all. Donohoo decided to utilise the sorcerer methodology of Faustus Crow in order to conjure Valefora into his lucid dreams.

What Donohoo experienced greatly surprised him. Valefora at first manifested, dressed as a quirky Victorian French maid, as Crow had described her.

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Valefora seemed to be like a most attentive female butler or a (Vale-t/for) valet. The Grimoires state that she makes a superb servant; although there are other, deeper levels of this Succubus, should a sorcerer conjure her as his familiar.

For example, the symbolism of the French maid refers to Valefora’s ability to access the minds (houses) of others without them realising it, in order to discover (clear out) hidden secrets.

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Valefora initially assumed the form of a most beautiful half-caste woman, being African and French, which of a manifestation seems to be associated with the motif of a Lioness in particular, though with felines in general.

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She said she was from New Orleans, who is highly versed in Voudon. But her secretive sidereal self is that of a Cat thief superheroine, dressed as a Steampunk Catwoman, who emanates from an alternate Victorian world powered by steam.

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Valefora seemed to be like a female version of a black-leather clad Robin Hood. She indicated that she thieves secret information from out of the dreams of the disgustingly rich theocratic fascists, whose patriarchal church of the deified ‘Animus’ made as a God/Devil, is built upon lies.

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The information she Cat thief steals from lying politicians, priests and other gangsters, who rule over the oppressive establishment is then revealed to the populace; for information is power.

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Much of the general populace survive amidst the squalid mind-slum of Londinium who are being used as unknowing slave labour within the plutocratic owned industrialist factories, whose country is essentially a fascist peeler state, which is the most spied upon in the whole world.

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It just so happens that Valefora’s Steampunk Britainia mirrors the present country of Orwellian police state Britain where there is 1 CCTV camera per 11 people.

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Over time, Valefora related her story via Ouija board divinations, who then manifested amidst Donohoo’s Triangle Of Art imagination as an eccentrically dressed young woman, as described by Crow. Although initially appearing as a half-caste girl, her ectoplasm features started to become more Exquisite Corpse indistinct of shifting ethnic types.

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She told Donohoo that her abode is an Arkham Asylum For Wayward Victorian Girls. All of these Wayward Victorian Girls are rebel metapsychic Witches who have been incarcerated by the patriarchal priests, whose fascist cult greatly fears their necromantic spiritualism. Hence the church has mass medicated the public water supply with sodium fluoride, in order to negate any psychic potential developing in the population, to seer beyond their symbolic Matrix of a Plato’s cave Asylum.

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Donohoo soon noticed that Valefora started to shift her Exquisite Corpse form into a Chinese looking woman, dressed in a schoolgirl sailor uniform of Victorian design.

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It was as if Valefora was comprised of differing split Exquisite Corpse personalities of a knit together Frankenhooker Mind Doll Tulpa, or that other wayward Asylum Succubae under Valefora were appearing in her stead.

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However, Valefora assumed a final form who looked remarkably like the artist Emilie Autumn, and like Emilie, Valefora plays a violin, which Crow had also described in regards to this Succubus.

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It was as if Valefora was assuming the form of Emilie Autumn in order to indicate who she really is, whose particular archetype has influenced popular culture. Whereupon, Donohoo had determined Valefora’s underlying characteristics by looking at the Emilie Autumn of this world, who is a world-class violinist, singer, composer, author, actress and an artistic genius, as well as being an anarchistic fashion icon.

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She is also medically classified as being bipolar, which just so happens, that the most common psychiatric diagnosis among those with extraordinary psychic skills is bipolar disorder. The list goes on of similarities with the Succubus Valefora, whose planetary domain is of the artistic Chakra sphere of Venus.

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The artist Emilie Autumn is very much of an eccentric paradox. She was born in (Lost Angels) Los Angeles, whose formal education had ended abruptly at the age of ten when, as a Violinist child-prodigy, she had been taken out her school to begin her life as a high level performer. Her self-published debut novel: ‘The Asylum For Wayward Victorian Girls,’ has been mentioned in text-books as well as being used as part of the psychology curriculum at Oxford University in Jack the Rippers London.

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Emilie’s historical knowledge, literary skill of poetic prose, which had been published during her early twenties, along with her astute ability as a unique singer with a dynamic and most colourful operatic range have been primarily self-taught; these being the three Triangle Of Art hallmarks of her influential Venus notoriety. A ghost of a George Orwell Chaos Magician, who is intrigued by her understanding of history, related: “Emilie seeks to understand the Past to thereby own her Present of artistic prowess; whereby becoming as a Seeress, who to seer a Future, she desires to make manifest.”

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Her works have also been utilised as the basis for the original works of New York’s Rochester Ballet Company, whose production scores were performed using Emilie’s spoken-spell-sung-words and teen-age Witch classical violin recordings.

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Emilie’s role as an activist for mental health care reform, as well as her outspoken views on gender equality, and animal rights have underlined her rebellious reputation as being a controversial young lady, who, like Valefora, unapologetically rebels against the fascist New World Order of the Animus fixated gangster elite.

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Emilie had originally intended to begin and end her Ouroboros career as a classical violin soloist and composer. But she gradually became aware that, in order to express herself completely as an artistic sorceress, she had to use her hypnotic voice as well as her nimble pentagram fingers. As soon as she opened her Siren mouth, screaming out her existence, she never kept silent.

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Emilie is now fully armed with a blitzing electric violin of an elemental weapon, a shockingly powerful mantra voice, as well as self-taught neuromancer skills as a digital programmer, creating her own simulated reality of Maya, who is able to record and produce her own multi-genre hyper-sigil albums.

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Emilie has also been made an official Witch representative for Steinberg’s Cubase, the industry leading digital recording and programming software of a viral meme, made manifest into flesh, who is becoming ever louder as a self made icon.

Then came Emilie’s literary creation, which entirely altered the course of her magical career, utterly transforming the ingrained perceptions of who she is within the coven minds of both fans and friends alike. Emilie published an illustrated autobiographical novel weighing in at nearly five pentagram pounds, entitled: ‘The Asylum For Wayward Victorian Girls’.

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It was first published in 2009 as a companion to her 2009–2010 North American, European, and Australian tour: The Asylum Tour. The fully illustrated book chronicles Autumn’s real life experiences in a mental ward after an attempted suicide, situated in this asylum world; while a doppelganger self of a young girl called Emily with a ‘y,’ is sojourning in an alternate Steampunk reality of a Victorian England, who is also admitted into an insane asylum.

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The tome’s contents was derived from Emilie’s real-life diary entries. Her story begins with Emily’s suicide attempt and prompt imprisonment within the rotting guts of an Arkham asylum. She spares no detail of personal experience. Emilie shows her reader what exactly went on within her Asylum house of horrors. Many mental institutes still utilise Victorian methods of continuance, up to the present.

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But what do you expect, California practiced eugenics, where many a considered undesirable lost Angel were forcefully incarcerated within Asylums and then sterilised, up until the late 60’s. If you don’t believe it, check out War Against the Weak: Eugenics and America’s Campaign to Create a Master Race by Edwin Black. In Emilie’s book, she reveals of personal experiences dark Asylum secrets, which the general public would prefer to sweep under their hypocritical church altar.

Emilie’s book appears to have inspired the film, entitled: Sucker Punch, which is a 2011 American fantasy action film directed by Zack Snyder and co-written by him and Steve Shibuya. It is Snyder’s first film, supposedly based upon an original script going by Snyder.

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The film stars a fifth element actress who, just so happens, is coincidentally named, ‘Emily’ Browning, and her four elemental sisters, Abbie Cornish, Jena Malone, Vanessa Hudgens, Jamie Chung and Carla Gugino. Basically, the principle character is somewhat like a Western Alice in Wonderland version of the Mongolian Utagan/Utygan (female shaman) called Nishan, whose speciality of practice is that of a (black shaman) Khara Kam, who is highly versed in the (underworld journey) Dolbor ritual.

The storyline follows Emily’s shamanic trance journeys into alternate Matrix realities. Of course, Emily is acting the part of Sweet Pea, who is committed to an infernal mental institution. She attempts to escape the Orwellian hospital before suffering a lobotomy; while the general public are unknowingly suffering the same Orwellian fate, due to being mass medicated with sodium fluoride, which is calcifying their pineal glands.

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Sucker Punch drew a lot of criticism from the political correct mind-set of the heavily fluoridated for its depiction of women. Several deadened pineal critics described the movie as being misogynistic; whereas blinded others expressed their concern over its treatment of sexual violence. But then, it was made by a male, to easily crucify. However, in all likelihood Snyder was inspired by Emilie Autumn’s real life experiences, which would shock the critics mouths shut.

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There are many similarities between Emilie Autumn’s autobiography and Sucker Punch. Emilie’s tale takes a surrealistic turn of events, when she is still in the psych ward, who discovers evidence of a parallel universe within which there is another Earth, the out of body traveler, Robert Munroe would describe as locale III, which of an alternate world, very soon becomes indiscernible from Emilie’s own reality.

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As the padded cell days drift by, the seemingly separate worlds of the story’s two lead characters, Emilie and that of her Victorian Steampunk Daemon sister begin to entirely merge. This leaves the reader, as well as the book’s genius, rather confused as to whether the accounts are truly autobiographical or whether Emilie has managed to seamlessly Skinwalk from her present world personality into her alternate world self as a World-Walking Skinwalker via an inner Da’at portal.

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What is quite curious, is that Robert Munroe also spoke of sliding into the corporeal frame of another self, who existed within an alternate reality, when to have shifted his consciousness towards the back of his infernal Qoph head, where the alternate world technology is based upon steam power.

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Donohoo to thereby theorise that there is indeed an alternate Steampunk reality just next door to our own world, and that Valefora knows how to travel between realities like a void-going Steampunk Dakini.

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Many of the readers of Emilie’s mind-bending psychological thriller who are presently living amidst an Asylum of this world consider her story to be a profoundly empowering Ouroboros tale of mental suffering, elemental sisterhood, and eventual Karmic revenge. Emilie’s story culminates in what has been called one of the most suspenseful Sucker Punch cliff-hangers of all time.

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Emilie has held hundreds of ritualistic book readings and performed séance scenes from her-self created Grimoire across Europe and the United States.

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Emilie’s viral meme self has manifested on Leno and Letterman as part of Courtney Love’s former band. She has also appeared on glossy magazine covers, such as Bizarre, throughout the world of a Goth icon, as well as attending ritual spots on albums by such artists as Love, Otep, Billy Corgan, and TV’s ‘Metalocalypse’, of a self made hyper-sigil. She also had a starring role as the Exquisite Corpse ‘painted doll’ in the musical film phenomenon of Darren Lynn Bousman’s (SAW II, III, & IV) ‘The Devil’s Carnival.’

Whereby, Dononhoo has deduced that under Emilie Autumn’s lacy corset, is the Succubus Valefora, who seeks to bust out of her feline cage. Hence, Emilie Autumn is no ordinary rock singer, she is a self created Tulku.

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Should you look closely at Donohoo’s drawings of Valefora inspired automatism, they depict what appears to look like some kind of Tesla time machine in the distance, looking like a wheeled throne, which Valefora rides as her Montauk ass of a hospital wheelchair.

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Like Emilie Autumn, Valefora’s familiar is a Rat, whose quantum tunnelling intuition knows about the infernal sewers connecting alternate worlds, which tend to flood with bipolar liquid light during the full Moon. But then the gravity of other worlds has to go somewhere of a tidal flux.

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Another name Valefora to have is the, Rat Witch. The Rat is very much an animal of Mercurial thieves; for it takes a thief to catch a thief. But the Rat is more so an animal of wounded survivors, becoming as Mercurial Shamans, since the Rat survived the catastrophic fall of the blindly repetitive dinosaurs. She has been considered to be among the most bizarre and little known Succubae over the Grimoire years, and consequently not much has been written about her until now.

Yet she was chosen by the ancient shaman Wodkhan from among the thousands, if not millions of Succubae Tulpa Mind Doll legions to be included in the ‘Anima’ list of 72 Goetia Girl archetypes, who are subdivided into four primary elemental groups of 18, which in turn, of two groupings, of 9 each, are associated with the enneagram of archetypal personalities. Thus Valefora obviously has powerful archetypal qualities to be considered by a conjuring Sorcerer Artist, who is as ferocious as a Lioness and works hard as an Ass for him.

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It is said that Valefora was an actual woman and that Wodkhan sought to save her soul, after she had committed suicide, in order to bring her back to life; whose lost soul wandered the infernal spirit world of a ‘meanwhile’ place outside of time. Whereupon Wodkhan entered into the death trance to find her. But in so doing, Wodkhan soon discovered that he had actually taken his own life, and she was the one seeking him. This tale is somewhat like the Sumerian Goddess Ishtar, who sacrificed herself into the underworld trance to save her lover Tammuz; but will Tammuz remember her? Should Tammuz not remember, Ishtar to suffer great pain, until she heals her wounded heart, of ‘shamanic’ artistry; whereupon Ishtar becomes a… Shaman.

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The multiverse world tree of Yggdrassill is a strange place indeed; in this world of a Midgard Asylum you have Emilie, in a world next door, you have Emily, and in yet another world you have ‘Emilia.’

The ‘Sucker Punch’ of this, is, all these worlds, including your world are as Maya simulations, which ever repeat of Eternal Recurrence; there is no escaping the encircled Asylum of Midgard. You may believe you are escaping the pointless madness of it all when to take your own corporeal life via the noose, taking pills or of slashing razor blade etc; but there is no escaping ‘your-own-self;’ even when to forget, because you end up repeating everything, over and over again of a leaden Jormungand cycle.

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The only way out is, to remember, not to repeat, to do things another way; whereupon a survivor often turns to Art, of symbolic alchemy, in order to survive the Asylum of a world. The practice of Art is indivisible from Sorcery; wherefore you win your Ouroboros Torc of gold engraved with Runes, out of Hela’s domain.

One old Grimoire related that Valefora is associated with the 6th Rune of Cen along with two other Succubae; for each of the 24 Runes house 3 Succubae (Valkyries) per Rune. Cen means: torch, as in, an inner fire, which alludes to the (bio-photon) light quality of the electron dream.

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The Cen Rune is usually associated with artistic creativity in Rune readings, which is very much the case concerning Emilie Autumn’s artistry, who has inspired Zack Snyder’s Sucker Punch, Gerald McMorrow’s film, Franklyn and numerous others as a Steampunk Art Muse. Valefora has been called other names, including Valafara, Valefara, and Malaphara. As an Emilie Autumn, Valefora is a Duchess who governs over 10 legions of wayward Victorian girls out of a Goetia Girl Asylum.

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Johann Weird, who seemed to view this Succubus as a sacred trickster, wrote that Valefora comes forth: “in the shape of a fearsome Lioness and the head of a ghost woman, she comes from a rough place of unfeeling, hellish iron monstrosities belching fire, smoke and steam of industrie. She becomes verie intimate with a sensitive sorcerer, to whom she maketh herself wantonly acquainted, till she hath brought him to the Da’at suicide gallowes of nightmare ridden insanity. If the sorcerer shouldst fear her, he will most surely hang. But if he does not to fear her, she takes him backwards of Odin’s self-sacrificial noose of trance, over the Ygg abyss, within her lightning, throne of a chariot to her world, knowing wonders and terrors, ever repeating of Ouroboros. She also produces dream apports of artistic treasures out of the aire, stolen from faraway places, and other times should her master desirest it so. But she only thieves from those who are blind abusers of their riches in this world, who are unaware that they are living within a dream, she to see, singular of eye.”

Seagreave describes Valefora: “she is highly skilled in the arts, who enables her master to access the surreal dreams of others.”  Valefora will always counsel accessing the dreams of others even when it involves remote viewing companions and friends of (extraction) information gathering. But such is to be primarily used for healing purposes, just as a Shaman uses lucid dreaming to retrieve lost souls. She cannot be broken of that shamanic habit, no matter how she is bound. Her advice will tend to be persuasive; for she will reveal that the true nature of genius, is the ability to access the collective mind, to thereby (Inception) influence via conjured archetypes stirring subconscious dreams, to heal. But such viral meme power of artistry, can of course be abused. Valefora is very much aware of this power, because she is an artist and a musician who has a seductive, singing voice; though, having a very eccentric manner;” the Seagreave report to state.

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Whereupon, Donohoo sees Valefora as being a sacred trickster, who knows how to mould your dreams, as a shaman would do, by shocking your cultural sensibilities of indoctrinated perceptual limits, to seer beyond, into other potential realities. Wherefore a Valefora Emilie Autumn, is a Babalon… Steampunk Shaman.

The Psychic Übermensch Aaron C. Donohoo by Erin C. Donohoo (2012)

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