It was from this Russian doll of a spirit repository, Sabnock’s Succubus Art Muse influence set about influencing the dreams of those around her during the Cold War.
Who, as mentioned earlier, was seen to look like Natasha Romanova out of the capitalist Marvel comics, of which many of the KGB personnel secretly read.
She informed the Russian psychic agents in the spy craft of remote-viewing, psychic martial arts, and dream assassination, which of dark psychic warfare teachings she communicated in depth, via those erotic dreams she induced.
Her look is very feline, like that of a Lioness, who of visionary manifestation amidst the Triangle Of Art imagination initially wore a tight clinging evening dress and a veil, but symbolic fashions do change.
In response to growing intelligence claims, that the Soviet program had produced results in the arena of psychic warfare, via their conjuration of a Fallen Anima archetype of a Succubus, the American’s reacted.
Even though it sounded absolutely crazy, the American’s decided they had to rapidly nip it in the bud. The U.S. wanted her Black Widow beauty for their own Psychic Avengers.
Sabnock was eventually appropriated by the U.S., when her spirit repository of a puzzle doll was secretly smuggled out of Soviet Russia by sea, within a small statue of a pale silver Pegasus by United States intelligence operatives.
The American’s believed that the Soviet Union was spending 60 million rubles annually on ‘psychotronic’ research, which was based upon Sabnock’s dream revelations.
After appropriating Sabnock the CIA Avengers initiated funding for a new program: SCANSUC (Scan by Succubus) in 1970, which had been inspired by Sabnock’s dream communications.
Remote viewing research began in 1972 at the Stanford Research Institute (SRI) in Menlo Park, California.
Although she initially missed her Baba Yaga homeland of the Russian Bear.
The shocking details concerning the erotic empowerment of the operatives remote viewing lucid dreams was of course covered up.
During 1977, the Army Assistant Chief of Staff for Intelligence (ACSI) Systems Exploitation Detachment (SED) started the GONDOLA WISH program to ‘evaluate potential adversary applications of Sabnock’s communicated remote viewing techniques, which of Genie practicality, required that she rode the Gondola erections of the operatives.’
Army Intelligence then formalized this in mid-1978 as an operational program GRILL FLAME, since Sabnock is a really hot Succubus.
It was based in buildings 2560 and 2561 at Fort Meade, MD as INSCOM Detachment ‘G,’ which of a letter is used in Freemasonry. (The letter G refers to the seventh Gebo Rune, looking like an X of Crossbones, which represents hypnagogic trance. The experience of hypnagogic trance is known as the little death, wherefore you have the Skull.)
In early 1979 the Sabnock research at SRI was integrated into GRILL FLAME, which was re-designated INSCOM CENTER LANE Project (ICLP) in 1983.
During 1984 the existence of the Sabnock program was reported by Jack Anderson; a similar situation had previously manifested in Budapest.
This had occurred when an an unimaginative Soviet bureaucrat out of a Kafka novel, reported about the blacker than black psychotronic research to his superiors. However, bureaucrat Anderson was thankfully unaware of Sabnock’s salacious Succubus influence; although in that year his report was unfavourably received by the National Academy of Sciences National Research Council.
In late 1985 the army funding was terminated. But the program was re-designated SUN STREAK and funded by the Defence Intelligence Agency Scientific and Technical Intelligence Directorate (office code DT-S).
In 1991 most of the contracting for the Sabnock program was transferred from SRI to SAIC, with Edwin May controlling 70% of the contractor funds and 85% of the data.
Its security was altered from Special Access Program (SAP) to Limited Dissemination (LIMDIS), and it was given the name STAR GATE.
In 1995, the defence appropriations bill directed that the program be transferred from DIA to CIA oversight.
The CIA commissioned a report by American Institutes for Research found that remote viewing had not been proved to work by a psychic mechanism, and said it had not been used operationally.
The CIA subsequently cancelled and declassified the program so that it could continue underground.
This was more so the case since the operatives were conjuring up Sabnock to look like Scarlett Johansson wearing a spray-on superheroine costume, who took to her Genie residence within their Marvel meditation tool dolls, which had been specially designed by DARPA.
Sabnock’s office is to build labyrinthine mind maps of ‘dream Inception’ in order to protect her conjurer from the malign intent of others, which involves creating high towers, castles and cities, and-to furnish them with armour, etc.
Also, she can attack her conjurer’s enemies with her Elf shot arrows, who will for many days be afflicted with psychic wounds, opening up traumatic emotional sores, which be rotten, and full of self afflicting worm thoughts, until they change their ways. This affliction is somewhat akin to being bombarded by a microwave weapon.
She bestows most loving Succubae familiars upon her conjurer at his request. She commands 50 Legions of Succubae; and her seal of the Fallen Anima is to be meditated upon prior to conjuring her into your lucid dreams.
Sabnock is a composite name, which is derived from the words, Sab and Nock. Sab refers to, a person engaged in direct action to prevent a targeted activity taking place, which is derived from the word ‘Sabotage.’
Wherefore Sabnock takes deliberate action, which is aimed at weakening the oppression of a polity or corporation through subversion, obstruction, disruption, or destruction.
In society, sabotage can be otherwise artistically exercised by reversing the established symbolic dialogue in order to set about causing change of a statically controlled perception, of which the Dadaist’s and associated Surrealist’s engaged in, of sabotage, as artistic saboteurs.
An example of which is sabotaging the establishments use of politically-correct Entartete Kunst mass-censorship and its corporate funded SJW agenda, which is tied up with eugenics and population control.
It is said that the word Sabotage was originally derived from the Netherlands, now Belgium, during the 15th century.
The word came to the fore when workers threw their ‘sabots’ (wooden shoes) into the wooden gears of the textile looms to break the cogs, fearing the automated machines would render the human workers obsolete.
As for the word, ‘Nock,’ it refers to fitting an arrow to a bowstring; mentioned during the 1510’s, which symbolically alludes to an arrow of thought being set to fly by the bow of your rebellious mind.
Within the rancid skull of castle Doom, surrounded by the Eastern European iron forest of Latveria, the black magician Doctor Victor Von Doom made his way down a shadowed spiral stairway of ancient crumbling stone into the castle’s ritual chamber.
Within the ritual chamber of an infernal mind laboratory, Doom’s chief Tulpa engineer of the necromantic arts was apparently knitting together a Tulpa for Doom’s Solomonic spectral army of demonic slaves; or so Doom thought.
Doom boomed out of an echoing voice as he entered the cavernous laboratory, which looked more like an arcane art studio, “I hear that you have accomplished the deed I set forth for you, doctor Frankenstein.”
Frankenstein turned around from the canvas slab to which was bound a knitted together exquisite corpse of an oil painting, whose layers of paint involved the writing of intricate sigilic formulae around the Moon phases. Over these twenty eight layers of tattooed skin, the final painting was done.
The finished work of ritual art was then covered by a silk black cloth depicting a copper coloured inverse pentagram.
“Yes, indeed, I have achieved what you asked of me, and far more.” Doom stared at Frankenstein; “more you say, most intriguing. But, I will be the judge of that. I desire to see this demonic grimoire Tulpa, I commissioned you to create, so that I will be enabled to control the weather systems of the whole world via its Necronomicon conjuration. With this catastrophic power I will destroy the old world, in order to initiate the return of the Golden Age under my New-World-Order dominion. Now, show me my new slave!”
“Of course.” Frankenstein answered, as he pulled away the black silk cover revealing a life size painting of a most beautiful African woman. Doom was at first taken aback; “What in the nine Hell’s is this? I was expecting a classical death metal demon of medieval temperament. This creation is just a modern day glamour pin-up of Ooro Munroe. She looks like a Marilyn Munroe peroxide blond topping Halle Berry’s head; no different to an explicit mandala jerk off photo shoot for capitalist Playboy. If I conjure this, whatever it is, I will be thrown out of the OTO.”
He started to laugh, which is a bit of a rarity to say the least; hardly anybody laughs in medieval Latveria, least of all, grim Doctor Doom.
Frankenstein then said; “You don’t quite understand, Doom, she is the very essence of Ooro Munroe. This knitted together exquisite corpse is that of Munroe’s captured quintessence, now bound into planetary metals suspended in oils, to have accordingly coloured of dream sorcery, whose secret mantra name is Vapula.”
Doom inquisitively looked at Frankenstein through the skull eye sockets of his shiny metal mask; “the quintessence of Ooro… her secret name is Vapula? explain!”
Frankenstein answered; “when you meditate upon the painting you repetitively intone the mantra name of Vapula; while to intermittently visualise her seal. This will enable you to initiate a hypnagogic state of trance. When you achieve the trance state, you can then evoke Vapula amidst your triangle of art imagination, which will then lead to a sixth sense lucid dream conjuration of her Succubus essence; whereupon you can then fully engage with her sensory reality, involving all of your inverted five pentagram senses.”
Doom looked very perturbed, almost nervous; sweating even, to itch under his steamed up armour; “Succubus? What do you mean by the usage of this loaded term?”
Frankenstein wirily smiled to himself; “well, it’s somewhat self explanatory isn’t it doctor. You have to introvert your sexual impulse of a an emotional charge so that you can bring her to electrifying orgasmic life within your spun electron dreams. Wherefore Vapula then becomes as your most loving Frankenhooker mind-doll servant, who as a microcosmic Succubus Genie will service your every megalomaniac whim upon a macrocosmic synchronicity.”
Doom shook his head; “I should have had you thrown into the deepest pits of the netherworld, long ago, Frankenstein, which is still on the Tarot cards.
The activation of this Tulpa requires my… ” Doom then nervously coughed, attempting to continue; “my sanctified Dr Strangelove seed of machismo prowess, which has to be kept eugenically pure at all costs. I cannot allow for this. I commissioned you to create a real Biblical demon; all bristling muscles, jagged spikes and serrated horns, or at the very least looking like one of Aleister Crowley’s phallic illustrations, or that of a morose H. R Giger Lovecraftian beast of writhing tentacles, siring Biblical end of days slaughter, when I desire it.”
Frankenstein sighed in exasperation; “Your fixation upon the classical Abrahamic symbolic paradigm of a branded mind-set, will invariably lead to you becoming upended by conjured Incubi, who will duly possess your Biblical anus through your rusting ritual magic armour. But, if that is your indoctrinated Golden Dawn leaning, go right ahead of an OTO sexual orientation. Do what you wilt, as the saying goes. But you do realise that by conjuring the Succubus Vapula, she will empower you to assume the alternate guise of the Black Panther, within a lucid dream as your Buddha Avatar, and in so doing, you can access all of his abilities, when you bind her to your iron will.”
Doom went silent for a moment, pondering the delicious possibility of entirely dominating Vapula and via her total subservience, she will enable him to acquire the power of the Black Panther.
Then Doom said; “this word, Vapula is derived from Vapulate, which means to flog, beat, whip or to strike, which has now perked up my sadomasochistic tendencies to dominate her. Tell me more about this Succubus, Vapula.”
Frankenstein then explained; “Vapula is the Sixtieth Goetia Succubus, who is otherwise known as Naphula. She is a great, mighty and strong Duchess of the seventh dimensional planetary sphere. She at first appears in the form of a black Cat with Bat’s wings or that of a Sphinx, before assuming the exquisite form of Oroo Munroe, who, as you know, is also called Storm.”
“Her Witch office is to make her master knowing in all handcrafts and professions; also in philosophy, and other Fantastic Four DARPA sciences, such as those of Nikola Tesla, via whose X-Men science we now have the Avenger weather control technology of HAARP, she to reveal all about of remote-viewing.”
“She governs over thirty six legions of Wakanda Succubae who emanate from Lilith’s Harem; and her seal or character, is thus depicted in her two-dimensional painting of a spirit repository, upon which you meditate in order to conjure Vapula into your three-dimensional lucid dreams.”
Doom again went silent of pondering thoughts, before saying; “Vapula at first assumes the visionary form of a Witches Pussy Cat or that of an Egyptian Sphinx, you say; interesting. Tell me more about why she assumes the form of a feline Sphinx?”
Frankenstein answered; “The word Sphinx, actually comes from the Greek, meaning, ‘to squeeze, to tighten up.’ The name is a reference to the factual observation that the hunters for a pride of Lions are the Lionesses, which kill their prey by strangulation, biting the throat of prey and holding them down until they die. However, the utilised symbolism, is that of an occult blind, which refers to an experience, termed as the Old Hag Syndrome or that of the Bedroom Invader. The Old Hag Syndrome usually occurs when a dreamer experiences sleep paralysis at the point of hypnagogic ingress into the dream, who is then assailed by a predatory Succubus. The presence of the Succubus can inspire intense fear in the dreamer, who will sense he is being strangled by his own nighmare made manifest, which could potentially lead to his physical demise.”
Doom then interjected; “she sounds really dangerous, I like her!”
Frankenstein continued; “yes, she can be highly dangerous to the uninitiated who do not know her riddle. But when the fear is otherwise negated by the prior ritualistic Tantric introversion of the sexual impulse, the strangulation of the reptilian brainstem transforms its self into a erotic caress of a feminine hand to the back of the head. This then initiates a shift of consciousness towards the ‘hall of records’ cerebellum, where the dreamer consciously accesses the dream, who will then encounter the Succubus as his informing lover.”
Frankenstein further related. “In Greek mythology, a Sphinx is represented as a daemon with a head of a woman, the body of a Lioness, having the wings of an Eagle, you could otherwise see as Gryphon’s wings, as well as sporting a serpent-headed tail. This symbolic formula refers to the arousal of an energy along the spinal column, which the adepts of Yoga call the Kundalini Shakti. The Kundalini energy is seen to have a female source. Whereupon you have a woman, who is termed as Shakti. This energy is often aroused by a visitation of a predatory Succubus, the Hindu, Buddhist or Tantric calls a Dakini.”
“Wherefore you have the motif of a Lioness, who will initiate an out of body experience, which is symbolised as the wings of an Eagle or Gryphon. The out of body experience, which is initiated by the visitation of the Sphinx will allow the dreamer to travel through time via his quantum dreams. This is the reason why H.G Wells had a Sphinx depicted upon the front cover of the first publication of his novel, entitled, The Time Machine. The Kundalini is also known as the fire snake; hence you have the serpent-headed tail of the Sphinx.”
Doom lustfully smiled behind his mask, saying; “I am most impressed indeed. I think I will have to commission you to knit together more of these Succubae Mind-Doll’s for my spectral army, Frankenstein. In fact, my spectral army will be entirely comprised of Succubae. In the meantime, I will have my Latverian minions collect the grimoire painting to place in my bedroom, this very night of a much looked forward to conjuration. Oh! by the way, can I flog the painting with my Cat of Nine tails, while I masturbate…”
Doom to Freudian slip, who then had a hacking cough, to rectify of continuance; “I mean, meditate upon Vapula’s image, while whipping her essence into total submission to my divine will?”
Frankenstein answered; “if it be your visualisation pleasure to do so of a Spirit Chain ritual, go right ahead, whip away, to your dark heart’s beating content.”
Doom stuck his mask nose up into the air of a perceived superiority to then flamboyantly turn away of dramatic sweeping cloak, leaving Frankenstein alone. Although, he wasn’t quite entirely by himself.
Frankenstein was surrounded by his necromantic comic art works of erotic knitted together Mind-Dolls. He waited until Doom was entirely out of psychic sight and clairaudient earshot before lighting up a Camel cigarette, who then merrily sauntered over to a hidden alcove, within which was another covered painting.
Frankenstein whipped off the cover to reveal a life size painting of a naked female version of Doctor Doom.
Frankenstein knowingly smiled, saying to himself; “when I conjure you amidst my lucid dreams, my dear knitted together tin girl, of a dark delight, playboy Jupiter sphere Succubus; I will assume the guise of Doctor Doom. And in so doing, I will acquire all his abilities and powers, having total control over a spectral army of Goetian Succubae, who be all grimoire comic Marvel superheroines to erotically conjure amidst my triangle of art. Whereby I will attain dominance over the entirety of the Marvel universe, when I assume the Avatars of all the Marvel superheroes, who are empowered by their corresponding superheroine Succubae.”
Frankenstein to have continued; “but I will not stop there; after conquering the Marvel universe I will move onto the superheroine Succubae of the DC universe and that of others myriad, of a multiverse, to fuck my way through, to rule over.”
Suffice to say, castle Doom was soon renamed castle Frankenstein; but at least he knows how to really Heyoka party of imaginative conjurations, let alone laugh away the moroseness of the indoctrinated medieval mind-set of the Lilliputian Latverian’s.
The psychiatrist, Carl Jung investigated the UFO phenomenon. His primary concern in the flying saucer mystique was not with the reality or unreality of UFO’s, but with their ‘psychic’ aspect.
Rather than to have speculated about their possible nature and extra-terrestrial origin as alleged spacecraft, Jung otherwise asked what the UFO phenomenon might signify, which of close encounters and ensuing synchronistic experiences, along with vivid dreams and paranormal manifestations, whether real or imagined, are experienced in such numbers, at a time when humankind is menaced as never before in history.
The UFO’s represent, in Jung’s phrase, “a modern myth,” whose influential symbolism has permeated popular culture since the end of WWII; after which there was rapid expansion of the mass imagination into the exploratory realms of science fiction.
Should the UFO phenomenon indeed have a psychic aspect, which is very likely the case, it will be very much entwined with the subconscious mind, whose psychic potential is stirred by archetypal stimuli. One could then conduct a thought experiment within the quantum computing laboratory of your brain, which of an experiment involves alchemically fusing archetypal symbols together.
For example, the 68th Succubus archetype of the Fallen Anima, called Beliala, can be symbolically associated with the fictional Andromeda Ascendant. The Andromeda Ascendant is a sentient starship, which is depicted in Gene Roddenberry’s science fiction television series, entitled: Andromeda.
Roddenberry’s idea of a sentient starship was initially going to be used for his prior starship creation of the iconic Enterprise of Star Trek fame, which has since taken on an archetypal status.
The Andromeda Ascendant has an artificial intelligence (AI) you can symbolically associate with your subconscious mind. In the series the Andromeda appears to the crew in three formats: she can appear on the two-dimensional monitors. These monitors you can equate with drawn images of artwork, which naturally involves a meditative state when creating them, being a light state of trance. The artwork is inspired by an initial visionary state of ‘active imagination’ when to conjure Beliala amidst your Triangle Of Art Imagination, where she and her 72 Succubae sisters, whom be all as archetypes, exist.
I am not talking about the common perception of what the word, ‘imagination,’ means. I am primarily referring to what the Sufi magicians term the imagination to be, which they see as being the power of magic.
She also appears as a three-dimensional holographic projection, which you can equate with a virtual reality ‘lucid dream’ manifestation of Beliala. She can also manifest as the avatar Rommie, (all three are played by the delectable Lexa Doig in the series) you can equate with what the Tibetan Buddhist’s call a Tulpa, which is basically a thought form, you can otherwise term as a thought projected hologram.
An avatar is a humanoid representation of the AI in the series, which of sorcery practice would be that of Beliala assuming the form of a Tulpa Mind-Doll Succubus, within your active imagination of ritualistic meditative practices; this will then lead to her appearing in your lucid dreams, who will also have the potential of manifesting as a poltergeist phenomenon.
I am not saying that Beliala will physically manifest into your reality as a science fiction babe, apart from perhaps setting up a synchronicity, where you bump into a woman, who just so happens is into Rommie cosplay.
However, the Rommie manifestation of Beliala will occur within an erotic lucid dream, via which you can potentially ‘sixth dimensional‘ remote view futuristic possibilities, and whatever technology therein to discover.
Although, I must admit, I have experienced physical manifestations of the (Tulpa) Succubae, which others have unknowingly observed; these manifestations occurred on very rare ocassions, at key times.
The Andromeda is shown to have the above mentioned holographic and android avatars, which of sorcery practice can be equated with a three-fold process.
The initial phase of conjuration involves your active imagination conjurations of Beliala, somewhat like intense daydreaming. This will then lead to the second phase of a microcosmic lucid dream interaction with Beliala.
The third phase would involve experiencing macrocosmic synchronicities, which will reflect back your internal dream interactions with Beliala.
These associative synchronicities might involve being at the right place and time to observe a UFO. But keep in mind that, should you photograph or to film the phenomenon, others will invariably say it is fake, let alone to remark; “so what! Everybody is seeing UFO’s all over the place, these days!”.
The associative symbolism, which is utilised will determine the nature of the corresponding synchronicities you will experience. Hence the 68th Goetia Succubus Beliala represents the personality and physical representation of the symbol focused upon of a (UFO) ship’s AI, in this case in the Mind-Doll Tulpa form of a human female, who is one of the 72 Succubae around a Zodiac.
In one episode of Andromeda, the ship’s engineer, Seamus Zelazny Harper (played by Gordon Michael Woolvett), builds an android as her second avatar.
The android of sorcery practice is a Mind-Doll construct of a Frankenhooker, with whom a sorcerer can interact with of a holographic (Tulpa) avatar via the monitor, of his mind. He will thence see her of a knitted together vision travelling beside him, walking and acting outside of her ‘Seal’ of a ship, via which he can remote-view worlds. Of course, only the sorcerer will be able to see her, no one else; being somewhat akin to the invisible friend motif.
Wherefore, it is highly advisable that you do not to have any conversations with Beliala when out in public; otherwise you might find yourself being dragged off to the nearest Arkham asylum for a dose of electric shock treatment. You could always claim that you are a native shaman; that might let you off the hook. But then that would probably get you into a much bigger mess, involving irate flocks of Sheep, frequenting a local Church, Mosque and Synagogue, whom will join forces for the first time in history, so that they can eradicate your free brain off the face of the planet.
Better to say that you are an absolutely crazy surrealist Artist, and that its all part of the exquisite corpse creative process to create a Frankenhooker Mind-Doll Tulpa Golem girl. They’ll probably just consider you to be a confused sad old Goat and leave you alone, after you Howl out, “Art is Sorcery; Sorcery is Art.”
Then again, others around you might be far too preoccupied with observing an angelic UFO, which just so happens, to have manifested, when you turned up; while you was secretly intoning an arcane Beliala mantra, in order to summon her star-chariot, so that you can escape the planet of the Sheep.
Fans of the Andromeda series refer to the monitor and hologram manifestations of the female AI as ‘Core’ and ‘Logic,’ respectively. The ‘Core’ can be associated with the microcosmic manifestations of Beliala within a lucid dream; while ‘Logic’ is that of Beliala’s generation of concordant macrocosmic synchronicities.
Gene Roddenberry was a most insightful fellow who depicted all three versions of the Andromeda AI having distinct personalities, even though they are based on the same root personality. This at times leads them having discussions with each other and even arguing amongst themselves, like that of your three brains, of a layered reptilian, mammalian and hominid brain.
This is why Beliala (Belial) initially manifests in the classical Grimoires as two Angels on either side of a (Shin) fiery (UFO) chariot.
In the series, the Andromeda Ascendant is equipped with a slipstream drive for FTL (faster than light) travel in which it uses an Exotic Matter Lens (similar to the video game: Mass Effect) to focus and open up a Slipstream Portal of a Stargate.
Internally, this Stargate can be equated with a quantum wormhole, which manifests as a (Vesica Pisces) vaginal star barrelled (black sun) torsion tunnel within a lucid electron dream; whereupon the Stargate is clearly associated with the feminine principle.
The internal processes of consciousness, which constructs your experience of reality, once understood, could be potentially applied to a technology. You would thereby have a very different technology to the one you presently utilise within the public arena. Whereupon if a technology has been developed behind the scenes, which is based upon the processes of consciousness, it could lead to what is termed as a Secret Space Program.
Within Roddenberry’s Andromeda series, the starship Andromeda Ascendant is shown to be somewhat sexual of an underlying theme, since it is clearly implied that the controlling female AI has an emotional attachment to her Captain Dylan Hunt. This is a variation on the archetypal idea of captains being in love with their (Succubae/Valkyrie) ships, implied for centuries, which is extensively used by Roddenberry in Star Trek.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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)
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.
In these accounts the Abassi inhabit the underworld rather than a heavenly abode.
The shamanic perspective of heaven and the underworld alludes to shifts of consciousness, which the Abassi enable a shaman to experience.
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.
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.
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.
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.
The black shaman helps people no less than the white shaman does, who occupies a higher position among the Yakut than the white shamans.
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.
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.
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.
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.’
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.
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.
What the black shaman communicates, is that the Abassi, are likened to (planetary) metal (shield/seal) mirrors.
The psychologist Carl Jung would see the Abassi as being Succubus aspects of the ‘Anima.’
Whereas a female shaman would interact with Incubus aspects of her ‘Animus.’
As female spirits of the ‘mirroring’ (Anima) dream, they will reflect back, what the horned shaman has to face about his inner self-image, since the Abassi define his inner self-image as a male, just as a physical woman would do, who projects her ‘Animus,’ at a prospective partner.
The Abassi will reveal the shamans self hate and disliking of his shadow side, in order to (blacksmith-dismember and rebuild: solve et coagula) transform, via his interaction with them, whose fire forges his iron will.
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.’
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.
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.
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.
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.
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.
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, manifesting as vampiric Witch hags.
Their monstrous forms 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 like 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.
(You also have the Circadian rhythm [six-armed, six-legged = 12] Zodiac [Kalachakra] and its 36 Decans to go 72 of number.)
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.
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.
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.
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.
Whereby the Abassi spirit (shaman doctor) nurses can heal said diseases, who as warrior maidens fight against malign influences.
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.
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.
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.
The black shaman Odin had his Abassi too, who are called Valkyries, the Saxon’s knew as Waelkyries.
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.
Such can be quite inspiring of surrealist exploration. But the Great Work of this symbolic alchemy, is that of creating knitted together the archetypes of the Fallen Anima into refined exquisite corpses, to thereby engage with of erotic lucid dream Coitus Pactum close encounters.
A Frankenhooker Mind Doll, being a thought form, is at first visualised upon her snap-to-the-grid slab of entoptic phenomena.
Her form, however, has a tendency to shift of an electron vision manifestation into differing modes of symbolic expression.
Crow had determined that this is due to his electrifying emotional states, which empowers his Frankenhooker Mind Doll.
However the energetic charge of emotions are often chaotic and uncontrolled, whose domain is of the infernal subconscious mind, from where Tulpa Mind Dolls are conjured of necromancy.
As mentioned prior, Crow’s conscious mind seeks to knit together a Frankenhooker Mind Doll into a refined Tulpa manifestation.
But he found that his emotional self of an Igor often rebels against his Dr Frankenstein mind.
Whereupon his conjuration of a Frankenhooker Mind Doll can take on an unformed surrealistic expression.
Such a creature will be made up of a knitted together juxtaposition of differing symbolic associations, which can become quite monstrous of an egregore.
This can become most irksome indeed, when to be straddled by an Old Hag crawling out of the shadows of your bedroom, which to thence leap upon you of an invading nightmare.
The monstrosity then promptly applies its weight upon your sleep paralysis frame.
Before strangling you with your own mounting reptilian brain-stem fear, to then mount its self of a fully fledged hypnagogic manifestation, of pure alien abduction terror.
So afflicted, requires you becoming aware, that your own fear empowers the thing conjured up from the depths of your psyche, to then wrestle with into another form, before awakening.
This isn’t to say that the Old Hag and that of its associated legions of corresponding monstrosities is not real.
Quite the contrary, in fact, it is very real indeed; for your nervous system cannot differentiate between a vividly imagined event and a so called real one.
Whence, a fully immersive lucid dream encounter with a creature conjured up from the subconscious depths is very real indeed, of a sheer horror made manifest.
But when transformed via the sorcery art of symbolic alchemy, the Old Hag becomes whatever your Dr Frankenstein mind sets about creating it to be.
Whom, if you so desire it to be, as a Dr Frankenstein creating a woman, she will then serve you as your Frankenhooker Mind Doll of a Tulpa Golem.
Crow had determined the symbolic associations of a Dr Frankenstein’s conceptual thoughts are entirely empowered by his electrifying emotional states, which as stated, can at first formulate into quite alien and most terrifying hybrid creations.
This is due to the conflict between the mind of a Dr Frankenstein and the emotional self of an Igor.
The trick is to determine what the emotional self of an Igor finds it easier to exhume of archetypal corpses from out of the necropolis of his buried memories.
This will then enable a Dr Frankenstein mind to knit together a Frankenhooker Mind Doll of an exquisite corpse, which he desires to give Tulpa life unto.
The problem however is that Igor can be easily brainwashed due to his rather base nature.
Igor is somewhat literal minded, you see; since he tends to follow the brainwashed reptilian brain-stems of the politically-correct conformist flocks.
For example, a Dr Frankenstein mind may discover; while seeking to conjure up a knitted together Frankenhooker Mind Doll of a Succubus, that Igor has been entirely brainwashed into believing that archetypal Angels and Demons are all male Incubi.
This is due to subliminal influences zapping Igor’s reptilian brain-stem.
Igor’s reptilian brain-stem is basically imprisoned by an indoctrinated culture, caught between a machismo good-cop God and a bad-cop butch Devil of Orwellian mind control.
Whereby Igor’s reptilian brain-stem, which governs over the autonomic nervous system, has been unduly imprinted since childhood.
As the saying goes; “have a child for seven years, and you own the adult.”
Whereupon, seven years being educated by the brainwashed can transform a child into an equally brainwashed automaton of an adult.
Hence Igor will rebel against Dr Frankenstein’s conjurations of Succubae Mind Dolls of the Fallen Anima due to his programmed nature; whereby engendering nightmarish Golem creations.
So, Dr Frankenstein being a crafty fellow that he is, has to then pander to Igor’s, imp of the perverse base nature, when to fathom his darkest unsaid fantasies via in depth self-analysis.
Whereby the sexual impulse is utilised of attraction, by using certain mandala imagery to meditate upon of an Anima focus.
Should this not work, then shock is used of repulsion in order to break down Igor’s programming.
Both attraction and repulsion is then consciously used of simultaneous surrealist artistry.
The fusion of the two states is highly effective in regards to hacking Igor’s programming.
These techniques are taken further, by logically pointing out to Igor, that the all male symbolic paradigm of the deified Animus made as a God and Devil.
The all encompassing mythic matrix of the deified Animus, has an underlying sexual orientation, which isn’t up his heterosexual inclined alley.
Whereby indicating to Igor that his base Chakra has been upended through illogical fear, which has led to a conflict of interests, engendering surrealistic nightmares.
Igor will of course become very angry, of a potent base emotion, when he realises that his emotional self, has been unknowingly abused in such a literal way by the conjured up male egregores of the deified Animus made as a God and Devil, which has twisted his dreams into nightmare; whereby blocking him. Igor then rallies to Dr Frankenstein’s cause.
Hence enabling a cerebrum Dr Frankenstein mind to have a free inner eye, guiding pentagram hand, to knit together, his Frankenhooker Mind Doll, of an artistic Anima form.
Her creation is that of an Art rebellion against the patriarchal brainwash of the deified Animus, which of a male archetype resides within the psyches of all protesting females.
This is achieved without any further bother on Igor’s reptilian brain-stem part.
Hence they work together of layered brains to accomplish the Great Work of symbolic alchemy.
Whereupon Dr Frankenstein creates legions of knitted together Frankenhooker Mind Dolls within his Tulpa lab of the imagination.
Many a Frankenhooker Mind Doll Art Muse thereby frequents his séance lucid dreams of an inner Harem.
“Whisky is for drinking; water is for fighting over,” the author Mark Twain to have once remarked; a line that a Mad Maxine Succubus would utter of clairaudience, when to conjure her as an Art Museamidst your Triangle Of Art Imagination as Malphasi.
She is the 39th Succubus archetype of the Fallen Anima, who will at first manifest as a vision looking like a Crow; but afterwards Malphasi will quickly assume human form, dressed as a police-woman.
Or she will give the impression of a law enforcement agent who governs over 40 legions of wasteland warrior Succubae (Succubi) Art Muses like herself, as well as bestowing them as loving familiars upon the conjuring Surrealist Artist.
Malphasi’s active imagination manifestation can be somewhat like a female version of the Dharma law enforcer called Mad Max, which of a name and title was used for a 1979 Australian action film set in a Karmic riddled dystopian future.
It was directed by George Miller, written by Miller and Byron Kennedy, over the original script by James McCausland, starring Mel Gibson.
Mad Max became known for its distinctive artistry as well as becoming a top-grossing Australian film, holding the Guinness book of records for most profitable film for decades.
Mad Max has since been credited for further opening up the global market to Australian New Wave films. Mad Max was also the first Australian film to be shot with a widescreen anamorphic lens.
The first film in the series, Mad Max spawned sequels Mad Max 2 (The Road Warrior) in 1981 and Mad Max Beyond Thunderdome in 1985. The fourth instalment, being Mad Max: Fury Road starring Tom Hardy as Max.
Wherefore Malphasi will induce lucid dreams about a dystopian future set in Australia, where law and order has begun to break down due to global water wars. Most of the Outback has been reduced to low-populated dystopian communities, whose primary technology is right out of a Steampunk novel.
There is hardly any oil for fuel in the Outback and certainly no electricity, except in the overpopulated Cyberpunk mega cities, where there is continuous strife, whose chipped-up populace is mercilessly policed by the Judges.
Whereas, in the Outback there is a relatively peaceful life to be had, though impoverished, but at least they don’t have to drink the fluoridated Mega City water supply, which is also mass medicated with lithium.
Alas, even in the Outback, rogue Dieselpunk motorcycle gangs scavenge the parched lands, and like rapid dogs they prey upon the weak and defenceless as their sport.
The gangs are extremely tribal of nature, who periodically terrorise the survivalist population, when they require provisions.
Those who do not submit to becoming the gangs slaves, invariably end up as road kill.
Whereupon, Main Force Patrol, an out-run police force of Judges has been created to patrol the Wild-West Outback to uphold what remains of law and justice.
Malphasi may otherwise dream manifest as one of the psychic Street Judges out of the dystopian comic book world of 2000AD, whom patrols the Cyberpunk Mega-City, charged to instantly convict, sentence, and execute offenders.
She would be armed with a ‘Lawgiver’ pistol (programmed to recognise only her palm-print, and capable of six types of ammunition), a daystick, a knife and stun or gas grenades. Malphasi’s helmet obscures her beautiful face, except for her painted fellatio mouth and mind-doll jaw.
She rides a large iron-horse motorcycle called a ‘Lawmaster,’ equipped with Viper machine-guns, a powerful black-sun laser cannon, and a fully self-aware Alice in wonderland artificial intelligence, capable of responding to dominatrix orders from the Judge as well as operating by its sentient self.
However, her appearance may be that of wearing spray on Valkyrie police leathers riding a supercharged black Pursuit Special (Ford XB Falcon) from a dystopian MFP garage.
Or to look like a Steampunk peeler driving a steam powered vehicle.
Whatever the case, she will relate of remote-viewing clairaudience and via ensuing lucid dreams that a series of reports from intelligence agencies and research groups from around your present world, indicates the prospect of a global Mad Max water war is becoming increasingly likely.
A report from the office of the US Director of National Intelligence related that the risk of conflict would grow as water demand is set to outstrip sustainable current supplies by 40 per cent by (23) ‘2030.’
“These threats are real and they do raise serious national security concerns,” Hillary Clinton, the US secretary of state, said after the report’s release.
Globally, 780 million people lack access to safe drinking water, according to the United Nations. By 2030, 47 percent of the world’s population will be existing in high water stress areas, according to the Organisation for Economic Co-operation and Development’s Environmental Outlook to 2030 report.
Many analysts worry that wars of the future will be fought over ‘blue gold,’ as thirsty people, opportunistic politicians and powerful corporations battle for dwindling resources.
Governments and military planners around the world are aware of the impending problem; with the US senate issuing reports with names like Avoiding Water Wars: Water Scarcity and Central Asia’s growing Importance for Stability in Afghanistan and Pakistan.
With rapid population growth, and increased industrial demand, water withdrawals have tripled over the last 50 years, according to UN figures. “Water scarcity is an issue exacerbated by demographic pressures, climate change and pollution,” said Ignacio Saiz, director of Centre for Economic and Social Rights, a social justice group.
“The world’s water supplies should guarantee every member of the population to cover their personal and domestic needs.” Saiz continued; “fundamentally, these issues of poverty and inequality, are man-made problems.” Although, the powers that be, are very likely orchestrating these man-made problems as a form of population control.
Ninety-seven per cent of the water on Earth is salt water; while the remaining three per cent is fresh, with less than one per cent of the planet’s drinkable water readily accessible for direct human uses, which is being fluoridated with sodium fluoride.
This is a criminal act since sodium fluoride is a known neurotoxin and a mutagenic compound, which in paricular affects fertility in males; this is to be duly followed by the planned mass medication of the water supply with the sedative, lithium.
Scarcity is defined as each person in an area having access to less than 1,000 cubic meters of water a year. The areas where water scarcity is the biggest problem is where political conflicts are rife, leading to potentially explosive situations.
Although parched Australia has avoided this problem, it is on the dystopian Mad Maxine horizon.
There are some archaeologists who have noted that the only documented case of an all out ‘water war’ occurred about 4,500 years ago, when the city-states of Lagash and Umma went to war in the Tigris-Euphrates basin. However Adel Darwish, a journalist and co-author of Water Wars: Coming Conflicts in the Middle East, points out that modern history has already been afflicted by at least two water wars.
Darwish continued, “I have [former Israeli prime minister] Ariel Sharon speaking on record saying the reason for going to war [against Arab armies] in 1967 was for water.” Some analysts believe Israel continues to occupy the Golan heights, seized from Syria in 1967, due to issues of water control, while others think the occupation is about maintaining high ground in case of future conflicts.
Senegal and Mauritania also fought a war starting in 1989 over grazing rights on the River Senegal. And Syria and Iraq have fought minor skirmishes over the Euphrates River; soon, the water wars might just go global.
As for Australia, which is the world’s driest continent. Settlers have long dreamt of finding a way to turn coastal rivers inland. But an ambitious scheme to reverse the flow of the Snowy River has disastrously backfired, threatening to deprive Adelaide of fresh water. The region from which the diverted Snowy River now feeds is bounded by Australia’s two longest rivers, the Murray and the Darling.
The water tables under this land are now rising, pushing deadly quantities of salt to the surface. The salt has already destroyed some of the country’s most productive farmland.
The Murray-Darling basin produces three-quarters of Australia’s irrigated crops. Many of the basin’s tributaries may be unusable for irrigation in the near Mad Maxine future, let alone as a source of drinking water.
The insanity is compounded by the fact that Australia is one of the most fluoridated countries in the world besides America who are basically poisoning their water supplies. The fluoride chemicals, which are used to fluoridate drinking water are: hydrofluorosilicic acid, sodium fluorosilicate, and sodium fluoride.
Unlike the fluoride compounds found in toothpaste or supplements, fluoridation chemicals are not pharmaceutical grade quality. They are, instead, unpurified industrial by-products, which are collected in the air pollution control systems of certain industries.
America’s water risk is a lot worse than most assessments suggest, according to a recent study from the Columbia University Water Centre. Taking into account past patterns of drought and water use, the Columbia study has revealed that several major metro areas, including New York City, Washington, D.C., and Los Angeles, are at high risk of water scarcity, along with the Great Plains agricultural belt extending from North and South Dakota down to North Texas.
“All cities and all businesses require water, yet in many regions, they need more water than is actually available and that demand is growing,” said Upmanu Lall, director, Columbia Water Centre. “The new study reveals that certain areas face exposure to drought, which will magnify existing problems of water supply and demand.”
The study notes that a ninety-nine percent population increase since 1950 combined with a one-hundred and twenty-seven percent increase in water use has further decreased water availability, making it increasingly difficult to replenish water supplies after a drought.
The report doesn’t predict when or where the water scarcity will become an issue. In New York and Washington, D.C., for example, water is brought in from outside of the city from other sources, which are typically plentiful, but this is not an assured constant due to upredictable climate change.
Malphasi will further relate of clairaudient remote-viewing revelations that there are those who are preparing for a global conflict over water.
In fact, they are seeking to utilise it for their own benefit. Water is becoming a blue gold commodity, which is becoming more expensive than oil.
If you do not want to drink your mass medicated water supply you are duly forced to buy fresh water from a wheeler dealer company owned by an elitist few.
Those who seek to use water as a financial commodity, but more so that of a means to control the populace have already taken measures for the invariable eventuality of mass social unrest over the scarcity of water.
Wherefore the elite few have set up numerous FEMA camps, all ready to go, along with establishing towering financial fortresses in, and under, the Ozarks.
For example; there are several towering banks being built in a little town situated in the Ozark area, with a ratio of 1 bank for every 53 people. In comparison to New York City, which has 1 bank for every 7,000 people; while Los Angeles has 1 bank for every 11,000 people.
You will also find an enormous house in the Ozarks, owned by a mysterious figure, which looks more like a fortress than a house.
The fortress is an incredible 72,000 Shemhamphorasch square feet in area, bigger than both the White House (55,000 sq.ft.) and Bill Gates’ house (66,000 sq.ft.), which may have a labyrinth of tunnels and caves underneath it, connecting the fortress to an underground city.
This fortress is actually owned by Steven Huff, LLC from Leesberg,VA. Steven Huff is the owner of Overwatch Systems, a defence contractor, which develops, amongst other things, geo-spatial satellites.
The NSA satellites are very likely used as a surveillance technology Over-watching your every move; this would be very much the case when you are eventually chipped-up.
Huff is generally seen to be a billionaire and a software entrepreneur, but the mainstream media seems to ignore his early NSA background, which began with a career in Army intelligence that led to him to become an officer in the CIA.
There is indeed a multi-million square foot underground Ozark city, which exists, for real. This is a fact, not conspiracy theory. It is tailor-made protection from an Armageddon, which could be brought about by an eventual war over water, let alone Oil. The underground city isn’t the only underground facility in the area, there are others of similarity.
They also say it is the largest in the world, which has room for 2 lanes of 18-wheelers. An underground road literally goes on for miles. So, it is indeed very likely that the Overwatch Huff house is connected by labyrinthine tunnels to the underground city, which has been built by unknowing slaves, all paid for by the tax payer, who have already been numbered for the nearest FEMA camp by a Shemhamphorasch fusion centre.
The underground city covers 50 square miles, all climate controlled, which has warehouses for food, data, offices, manufacturing, even underground farming and stockpiles of crude oil.
There’s plenty of space to live in. You could potentially house thousands of people in the Ozark underground city, should the elite want to save that many from a global conflict over water.
Most probably not, considering they have ordered large numbers of fibre glass coffins to stockpile around hidden FEMA camps.
Malphasi will warn her conjurer that should he, alone, speak out against the elite, he will no doubt be picked up by one of the 72 Shemhamphorasch fusion centres.
Wherefore she empowers her conjuring protest Artist with the remote viewing capability to seer the Karmic plans of the criminal elite, against whom Malphasi rebels. But then, she is a Mad Maxine Dharma Judge.
She considers the elite to be mere brain-dead zombie criminals, who have imprisoned her Succubae sisters, and herself, into viral-meme Animus male forms to conjure of a continuing Shemhamphorasch brainwash around their Abrahamic New-World-Order altar, of an Oily Illuminati trinity of big-business cults.
What machismo spirit of a butch police state idea do you think Steven Huff conjured up of an Animus fixation, to manifest his Orwellian Solomon temple?
Well, it definitely wasn’t police girl Malphasi of an Anima archetype, since the politically-correct Abrahamic Gestapo consider her to be merely Entartete Kunst pornographic!
Malphasi is a dystopian Art Muse of artistic rebellion; for Art and Sorcery are indivisible of practice.
Many a Golden Dawn mage evokes machismo OTO Angels and butch Demons of Incubus commonality from out of their indoctrinated Biblical Grimoires, whose deified Animus made as a God/Devil, have castigated the Anima, and all her Succubae into their Hell.
But, Faustus Crow, being a rebellious Sorcerer that he is, otherwise conjures up the Fallen Anima and all her Succubae Great Old Ones, from out of their Necronomicon necropolis, who haunt Crow’s haunted art studio, as his waxen Tulpa Mind-Dolls.
These Succubae Mind Dolls have been given two-dimensional form of image, to thence conjure into three-dimensional reality, within his sixth sense lucid dreams of a wrought Sexagram.
Wherein, they become real amidst the sensory realm of the dream, where Crow’s five senses of the inverse pentagram, have been introverted into.
The Succubae be the true ‘Great Old Ones’ frequenting the DIANA-LUCIFERA pages of Crow’s ‘Howling’ Goetia.
The grimoire of Faustus Crow is Lowbrow of rebellious style, whence Underground of comic art, which does not allow for the religious sentiment to take root.
Because, the static fixation of a religion has nothing whatsoever to do with the fluidity of Magic; for the practice of Magic is indivisible to the practice of Art.
NOTE:When a heterosexual female is asked to imagine, her idea of a perfect male partner, she conjures up a male aspect of her Animus, like that of conjuring Incubi from out of a classical Playgirl grimoire, listing Good-Guy Beta-male Angels and Bad-Boy Alpha-male Demons.
The Animus is the objectified male archetype, residing within the heterosexual female psyche, which influences her choice of mates. The Animus has been deified as an All-father God/Devil, whose religious cultural-construct of an Animus fixated symbolic paradigm permeates language and all levels of popular culture.
When a heterosexual male is asked to imagine, his idea of a perfect female partner, he conjures up a female aspect of his Anima. There are no historical examples of a Playboy grimoire listing the archetypes of the Anima, since the Anima has been castigated out of the symbolic equation as the Fallen.
Wherefore, if there be a historical example of a banned grimoire like that of the Necronomicon, it would list the Succubus archetypes of the Fallen Anima. However, as already mentioned, there is no historical example of a Playboy grimoire ever existing, since the fallen Anima and her Succubus Great Old Ones are considered to be politically incorrect pornographic objectifications of the female.
In other words, the psyche of the heterosexual male is religiously/politically influenced and controlled by castigating the Anima out of the symbolic equation as being Entartete Kunst.
The Animus and Anima change over archetypal roles within the psyches of those who have differing sexual orientations.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.”
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.
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.
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.
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.
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’.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Emilie has held hundreds of ritualistic book readings and performed séance scenes from her-self created Grimoire across Europe and the United States.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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: Engineered Newage date of a Carrington Event ‘Coronal Mass Ejection,’ from the Sun, which missed the Earth by Nine Days; if it had hit the Earth, your nigh Cyberpunk world would have been sent back to the Steampunk era! The next CME is forecast for 2025-2030.)
The Ouija Board design depicted above is for the 56th Fallen ‘Anima’ Archetype of the Goetia, who is mantra named, Gremory.
The design depicted below is for the 32nd Fallen ‘Anima’ Archetype of the Goetia, who is mantra named, Asmoday, or Asmodaya.
Should a practitioner carefully affix the chosen Art print to a prepared board of his/her choice, by making sure no troublesome air bubbles arise, a pendulum can then be used, which will swing to each letter when a question is asked of a conjured Fallen ‘Anima’Archetype of an Art Muse amidst the practitioner’s Triangle Of Art Imagination.
The Art prints do not have letters, although the Black Raven Tarot cards can be otherwise utilised, such as having twenty-five Tarot cards laid out around the print for each of the twenty-five letters of the alphabet, or their associative Runes can be used.
The operative methodology here is Art, which employs the shamanistic technique of Surrealist Automatism. Basically it is a method of creating Art.
This involves the conjuring Artist being able to suppress his/her conscious control over the creative process, allowing an Archetype of an Art Muse who is being conjured out of the unconscious mind to have greater influence over the sway of the pendulum around the configuration of the Ouija board pattern.
The design depicted above is for the 55th Fallen ‘Anima’ Archetype of the Goetia, mantra named, Orobas or Orobassy, who is visualised as a Pony-Girl.
Of course you will need a pendulum, which can be easily created by using a piece of string with a simple weight at its end, which can be made more ornate by using exotic materials, which have an Archetypal meaning to you.
When conducting the Surrealist Automatism, you should seek to still your mind, after asking your Surrealist question.
This can be achieved by repetitively intoning the mantric name of the conjured Archetype of an Art Muse, to otherwise meditate upon her central Archetypal image amidst the mandala design, while the pendulum swings around the board.
The design depicted above is for the 4th Fallen ‘Anima’ Archetype of the Goetia, mantra named, Samigina.
As the pendulum slowly halts its swing, when pointing out a letter, number, etc, in answer to your question, it is then noted down. Do not worry if the answer does not make any sense at first; for like a surreal dream, it is symbolic, which is then translated into Art. It is when you create your Art, the answers will then make more associative sense.
The intensity of this divinatory practice of Art is a creative form of meditation in its own right, which will enable the focused upon imagery in league with your questioning to stir your dreams, which can in turn enable lucidity. So, take note of your microcosmic dreams and any correlating macrocosmic synchronicities you observe.
The design depicted above depicts the Triangle Of Art, amidst which the Fallen ‘Anima’ and her myriad archetypal legions of the Succubus Great Old Ones are conjured. The design is 356 x 299 mm.
Early 20th century Dadaists, such as Hans Arp, made use of this ritual magic method for the visual Arts by utilising chance operations, which the psychologist Carl Jung would otherwise term as synchronicity.
The technique of the Surrealistic séance involves visualising an Archetype, while inducing (Theta brainwave) hypnagogic trance trance, then the unconscious is given free rein over the painting process, whose chaotic pattern would then have an associative meaning.
The Surrealist Artists, most notably André Masson, utilised the Automatic writing method of André Breton and Philippe Soupault, both of whom used the technique to compose Les Champs Magnétiques (The Magnetic Fields) in 1919. The Automatic Message (1933) was one of Breton’s significant theoretical works about Automatism.
The shamanic methodology of the Ouija board can be seen as Automatic writing or psychography, which is considered to be a psychic ability, allowing a H.P. Lovecraft to produce written words without consciously writing.
The divinatory words otherwise arise from the Necronomicon powerhouse of the subconscious where the Fallen ‘Anima’ resides along with her myriad Archetypal legions of Art Muses, who be the Succubus Great Old Ones, whom rebel against the symbolic construct of the deified ‘Animus,’made as a God/Devil.
Remote Viewer Aaron C. DonoWHO may have been the first Bill Gates funded magician to have ever had a tangible glimpse of the Forty-second Succubus archetype of the Fallen Anima, Mantra named Vepara, otherwise called Vephara.
DonoWHO claimed to have snapped a psychic photograph, which was taken just after conjuring this Succubus of the Fallen Anima into his temple of a padded bedroom.
The photograph depicts Vepara as a sensual submariner seated astraddle his altar to orgasmic alter. Her politically incorrect Entartete Kunst manifestation is of a Seventh Seal revelatory design, which torpedoes the cultist minds who worship the Deified Animus, made as a God/Devil.
What you would have observed in DonoWHO’s two-dimensional photograph was a statuesque woman with piercing eyes and a somewhat pronounced chin.
Behind her, a vaginal rip of a Dreamtime wormhole, through which could be seen captain Nemo’s Nautilus of a yellow submarine, made famous by the Beatle’s Omen song.
She psychically informed DonoWHO that her submarine is a Leviathan class Nautipuss.
What was especially noticeable about the two-dimensional photograph of Vepara, was her Lovecraftian Octopussy hair. While not twisting like octopus tentacles, her hair did slither serpentine, of similarity to the hair style of the legendary Medusa.
The psychic photograph also showed something else; projecting downward, from the head of Vepara, was various distortions, like ripples from a tiny ‘stone’ dropped into a still pool of clear water. Does this suggest some kind of energy spreading away from this Succubus, or is this some kind of Sirian radio beacon?
The legends of Vepara indicate that this daemonic Succubus has been especially known to wet dreaming sailors, if not by many other cultures in ancient times, whom experienced her three-dimensional lucid dream reality.
The mermaid legend obviously has its mythic roots in this Succubus, who is a dream creature of the astral sea between worlds.
One story says: “Vephara appears as a mermaid, a daughter of Dagon, some to say, she has emerald scales trimmed in silver and seaweed tangled in her hair. She may also appear at times to be a beautiful slender woman. But this Venusian shape is only one of many erotic forms, she assumes, to lure those psychonaut sailors whom sail the seven seas of fate towards their blissful wet-dream trance of a little death. Her fingers are webbed and she has small gills behind her pointed elfin ears.”
Yet another legend claims that Vepara: “governs the waters out of Innsmouth, who torments the armed warships of the brainwashed herd with her erotic Anima presence.”
“She can cause stormy weather to verily afflict the war profiteering naked apes, who continually indulge in warring over their Lilliputian religions of the deified Animus.”
“The three Liliputian religions of the of the Oily Illuminati triad of UR who worship the deified Animus, made as a monotheistic God and Devil has caused much woe in the world.”
This Succubus is known of to a Discordian cult of Dadaist anarchists who worship her as, “The Illuminatus Serpent Queen of Surrealism.”
The Medusa story . . . a beautiful woman who had her hair turn to a nest of twisting snakes because she rivalled the Goddess Athena in beauty . . . may well have its roots in the legend of Vepara.
The ancients said that Vepara has the ability to cause horrible wounds to those who seek to cause her conjurer harm.
These wounds will manifest as gashes, which will putrefy and fill with worms; though not seen by others, the wounding will be there, invisible.
It was said that any man who looked at Medusa would be turned to stone, whose head, Perseus was to later have upon his protective shield of an emblem.
The story is that Vepara is very much at war with the Orwellian New-World-Order kingdom of a Big-Brother God, whose monotheistic totalitarian/fascist minions have poisoned the waters of the world with their eugenic insanity.
“This great and most strong Duchess, called Vephara plies the waves piloting her leviathan of yellow copper, which holds sway over the astral sea. Her crew are like she, mermaids all, who come by way of Sirius; their nature be amphibious, whose submariner city is below the amniotic waters, of infernal ocean depths. She can guide her conjuring surrealist Artist across the astral waters towards other worlds of surreal isles, when he to dream, and she will always do so, at his request. She has dominion over twenty-nine Anima legions of Succubae.”
As for DonoWHO’s two-dimensional psychic photograph, which for a time was claimed to be physical proof of a Succubus visitation from the ‘SEVENTH’ dimension, it has mysteriously disappeared.
Although it could have turned into a pool of ‘Fluoridated’ tap water, just before the butch psychiatric Nurse gave him his ‘Fluoride’ based… ‘Sedative.’
The Psychic Übermensch Aaron C. DonoWHO by Erin C. Donohoo (2012: Mass ‘Corona’ Event missed by Nine days! Next CME, 2025 or 2030)
FAUSTUS CROW 