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Long before Christianity made its empire-building way into central and Eastern Europe, many of the ancient Pagan peoples practiced what can be construed as shamanism, others call witchcraft or sorcery.
Shamanic practices were practiced in central and Eastern European lands, which are now called Poland, Czechoslovakia, Hungary, Romania and Transylvania, etc.
For example, archaeologists have discovered traces of mysterious rituals performed by (Witcher) Shamans about 9,000 years ago in Poland.
The archaeological site is located near today’s lake Swidwie (West Pomeranian) in North-Western Poland, which has been studied since 2012.
One of the most interesting discoveries is an area of a circle, where scientists discovered mysterious structures.
The main feature of the site turned out to be a trapezoidal building having poles, surrounded by an arch of stones placed at equal distances from each other, which has lain buried down the ages, while numerous wars have been fought above its bones.
There are also ritualistic sharpened yew sticks driven into the surface in the shape of a horizontal figure similar to the Big Dipper, a fragment of the constellation of Ursa Major.
However, many researchers have noted that the shamanic worldview of the pre-Christian European peoples have survived in their colourful myths.
It is upon these ancient myths The Witcher (Polish: Wiedzmin), fantasy series of novels and short stories have derived much of their inspiration, that were written by Polish author Andrzej Sapkowski.
The Witcher books led to the development of a 2007 action role-playing game developed by CD Projekt Red, called The Witcher.
The Witcher game was duly followed by The Witcher 2: Assassins of Kings in 2011, and The Witcher 3: Wild Hunt in 2015.
As in the books, upon which the video games are based, the story takes place in an alternate medieval fantasy world.
The story follows Geralt of Rivia, one of a few traveling monster hunters who have shamanic powers, known as Witchers.
The Witchers are masters of the martial arts, who can be seen as warrior Shamans; their female counterparts are Sorceresses.
The Witchers also have control over the elements, who use five elemental hand-signs to do so, which are similar to Mudras used in the meditation practice of Yoga.
In Yoga practice a Mudra means ‘sign,’ seal, gesture, or mark. Yoga Mudras are symbolic meditation gestures often practiced with the hands and fingers.
They facilitate the flow of energy within the dream (subtle) body, when utilised when (sexagram/sixth-sense) lucid dreaming.
It has been noted for its time-delayed consequences and lack of black-and-white morality.
There are also numerous references to the works of the author H.P. Lovecraft in the highly successful Witcher video games.
For example, one of the enemies Geralt fights against in the first game is Dagon, as described by Lovecraft. In the Wild Hunt, Geralt can also get hold of the Necronomicon.
Rusalki, ‘plural: Rusalka was perceived as a female Ghost, Water Nymph, Succubus or Mermaid of an Inorganic Feminine Intelligence, who often dwelled in a waterway.
According to most pre-Christian Slavic traditions of Eastern Europe, the Rusalki ghost girls were usually seen as being of an amphibious nature, which indicates reptilian characteristics.
The Rusalki ghost girls primarily live at the bottom of torque whirlpools, which is somewhat reminiscent of what the Yaqui Sorcerer called Don Juan told the author Carlos Castaneda about the Inorganic Feminine Intelligence called the Allies, which also frequents whirlpools.
A salacious Rusalka was seen to stalk the depths of the humid night as a ghost, walking upon the river bank naked or to dance amidst the meadows sky-clad. Should a Rusalka see a handsome male, she would mercilessly hunt him down, fascinating her quarry with erotic songs filling his head.
He would also be tormented by visions of the Rusalka ghost girl sensually dancing before him, so that to mesmerise her prey, leading him away towards the river floor, to live with her; that, or she to haunt his watery astral dreams wherever he goes, such as haunting Faustus Crow as Mephistophina.
Visual descriptions of the Rusalki reflect their environment, varying in form from region to region, wherein to find Rusalki of fertile areas such as in Belorussia manifesting as seductively beautiful naked maidens who live without men amidst them.
While in the Ukraine they were often linked to water. In Northern Russia, the Rusalki manifest as hideous hags, who are very hairy wild-women; whereas others of this region describe the Rusalki as being sinfully wicked young ghost girls, who manifest as very attractive Ice maidens of carnally perverse wanton wiles, with wild dishevelled hair.
One folklorist discovered tales, which described the Rusalki ghost girls as being similar to Vampires: “They were naked, wan, and cadaverous, like drowned corpses, and their eyes shone with evil green fire.” (Johnson, Kenneth. Slavic Sorcery: Shamanic Journey of Initiation. St. Paul, MN: Llewellyn Publications, 1998: page: 155)
The Vampire aspect of the Rusalki ghost girls is very much like the nature of the Viking (Rus) Valkyries who, as death angels, are attracted to conflict; they can either protect a warrior from harm, or determine his fate in battle.
The Rusalki ghost girls are usually perceived as beautiful fish-women or as Mermaids who are commonly portrayed in Slavic folk-art and fairytales as stunningly seductive creatures, whose beauty is unrivalled by any mortal woman.
Another folklorist related: “In her outward appearance, the Rusalka matched the natural beauty amid which she lived. Her fair tresses flowing in an eddying endless stream, her fine features framing her fathomless eyes; simply to see her was to ache with desire.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)
While other informants describe the Rusalki as: “their faces are pale like the moon, and they wear robes of mist or green leaves, or perhaps a white robe without a belt. Their hair is green, or brown, decorated with flowers” (Johnson 155). The ethereal beauty of the Rusalki can only be tarnished by the windows to their inner beings, which are as their spiral eyes, of gold flecked green flame, telling of their tragic beginnings.
The Rusalki ghost girls are most commonly perceived to be the spirits of young women who have met their dire fate by drowning in deep waters, whether by accident, suicide or by malicious intent, or to have been murdered by their own mothers. However, the motif of ‘drowning’ may actually allude to trance Induction of which the feminine is most adept at. The Rusalki have since been transformed into aliens emanating from another dimension, or to have otherwise descended from the starry ocean of the cosmos as blond haired Vril Angels, who are mistakenly described as being Nordics extraterrestrials. But then as Tesla Muses, they did beat the Operation Paperclip ‘Nazi Assisted Space Agency’ to get into space.
“Belief in them is most widely spread among the Russian’s (the Christian practitioners of Dvoeverie), who hold that they are children who have died un-baptised, or have been drowned or suffocated, or else that they are girls and young wives who have met an unnatural death, or have been cursed by their parents” (Máchel, Jan. “Slavic Mythology” The Mythology of All Races. Vol. 3. Celtic & Slavic. Eds. Louis Herbert Gray and Consult. Ed. George Foot Moore. Boston: Marshall Jones Co., 1916: 13 vols: pages: 214-312.)
These ghosts of drowned girls are perceived to spend some time in a purgatorial limbo state before becoming a Rusalki, as if to allude to an Initiatory period of training. During this time of Initiation the young Rusalki are known by the Russian as a Navki, or in Polish as Látawci Navki who are reputed to appear in the form of birds, which cry out wailing cries like forlorn infants. The Navki continuously comb the countryside in search of their former mothers, who would be quite shocked by what their daughters are becoming of a Pussy-Riot rebel generation. But what do you expect; there be a commonality of Playgirl Grimoires listing butch ‘Animus’ Angels and Demons; whereas Playboy Grimoires are not to be found of conjuring the ‘Anima’ manifestations of the Succubae Rusalka, such as the one time Succubus, named Astarte, who be otherwise known as Astaroth.
The young Navki ghost girls are usually seen to be rejected by the mother Church of Rome, whose patriarchs greatly fear them with deep dread, due to their malign reputation of jealously attacking those Christian women who are said to be close to the time of childbirth. Although this has more to do with attempting to stop a child from being brainwashed into the appropriated ancestral-self-identity of another people, whose cultural construct of a Abrahamic religion had been stolen by Rome.
The initiatory period of wandering for these angry ghosts of the Navki lasts for seven long years, which seems to indicate an elder tradition of training young girls by some form of ancient matriarchal religion. The chosen girls were no doubt highly adept at trance (drowning) induction, who left their natural mothers in order to be trained. However, those of a Christian disposition perceive the Navki as begging anyone of the Abrahamic monotheist faiths, who will listen to their sad ghost tale, to baptize them. But if the Navki cannot find a Christian cultist to take pity on their wailing voices, to utter Biblical prayers, they are doomed to spend the rest of their days as Pagan (Succubae) Rusalki. As rebellious Pussy-Riot Rusalki, their predatory nature is to seek out Alpha males with one time Order Of The Dracul fast horses to that of Illuminati sports cars, both of which denote big Vatican wallets to suck dry.
It is those quiet spots out of the way ‘power-places’ along woodland brooks and rivers where the Rusalki are seen to live, who also deeply dwell within the bottom of still lakes and ponds, or under the continual turbulence of sharp rapids. There are certain times under stars, revolving as a Zodiac clock, when they eventually emerge from out of their underwater world. The Rusalki are then found to be sitting upon their shores near ‘spiral’ engraved standing stones. Or to be otherwise found perching within sanctified ritual world-trees of prayer offerings, wearing nothing but feathered cloaks, where the Rusalki attempt to, “attract young people by imitating the crying of infants or laughing, giggling, and clapping their hands.” (Máchel: 253).
Many of the Eastern European folk stories describe the Rusalki realm of their underwater Harem abode as, “a place of entrancing beauty, its vast marbled chambers hung with crystal chandeliers, its walls and floors set with gold and precious stones.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)
The Rusalki ghost girls were believed to be at their most sexually dangerous during the Rusalye, Rusaliia ‘Rusalki Week’ of early June for at this time, they to have left their watery uterine depths so that to seductively swing upon branches of sacred Birch of forest and Willow trees, near waters at night, chanting out their hypnotic Spell-formulae. The honouring of the Rusalki’s sacred tree is usually that of the Birch.
The Slavic peoples of pre-Christian Eastern Europe used to believe that trees are highly evolved beings, which are far more connected to humans than other plants and animals. This belief is not too dissimilar to the ancient Celtic perspective of sacred trees. The Birch tree is one of the primary holy trees of the Siberian Shaman, which is perceived to be the ‘World-Tree.’ The Birch tree, in particular, is seen as being, “the locus for the coming together of the living and the dead, the communion of animal, plant and human life.” (Hubbs, Joanna. Mother Russia: The Feminine Myth in Russian Culture. Bloomington: Indiana UP, 1988: page: 33).
During Rusalki Week of partying, Birch Trees are usually decorated with flowers and other offerings such as prayer bundles, where they stand naturally, or branches of the tree may be brought into the home to be made into birch-garlands. Other village communities have been known to send young men into their local forest to fell a Birch, “which the girls dressed in women’s robes decorated with bright ribbons and pieces of cloth.” (Johnson: 157).
The Birch tree was then duly carried into the village, while songs were sung over it and the arrival of the Birch into the village was heralded by a ritual meal. This sacred effigy of the Birch was then erected in a specially made ritual house at the centre of the village, where she presided over the week’s festivities as a deity. This ritual is reminiscent of another Russian deity and powerful Sorceress called Baba-Yaga of a similar type to that of the Scottish Highlands, Cailleacch Bheur, whose nature is akin to Hindu Kali who lives in a ‘hut’, which stands on Bird legs amidst a Birch tree forest; whereby the Rusalki are as her faerie sorceresses.
Swimming during this week was strictly forbidden especially to for pubescent young girls and boys just entering maturity, lest Mermaids would drag the girls down to the river floor to make like themselves; while the boys are seduced by wet dream torments. Some folklorists have noted that the word Rusalka originally referred to the dances of girls at Whitsuntide. The word is conjectured to have been derived from the Greek, and that of ‘Rosalia’, the Latin term for Whitsuntide week, which originally meant ‘the festival of Roses’.
The Rusalki ghost girls are seen to spend their time combing their long luxurious braided hair, where their power to be, playing amongst themselves, dancing circles to lure female seekers to their little deaths, drowning into trance so that to initiate them into their arcane pre-Christian mysteries, while the men they to seduce.
The Rusalki are also known for being spinners of webs, who hang the results of their labours within sacred trees, or to draw spirals upon banks near flowing waters, where anyone passing should be wary of stepping upon. The Rusalki are also known for being the spinners of ‘time’ and that of your fate, who possess the power to affect the lives of local inhabitants, they, “decided who died and who would be reborn, who prospered and who perished, who married and who would be barren.” (Hubbs: 33).
Kimaris is the sixty-sixth Succubus of the Goetia, whose name is a composite of Ki, as in ‘Kia,’ and Maris. The word, Kia is derived from the language of the Kalahari Bushmen of South Africa, which is a term describing, trance.
Whereas, Maris, is of the Latin, meaning, ‘of the sea,’ from the term Stella Maris, which refers to the Virgin Mary, the Sirius star of the sea, and the ocean of space, somewhat like the ancient Egyptian Goddess Nuit.
Although, space in the context of Kimaris, refers to the amniotic astral ocean of inner space; hence her connection to trance.
She is also known by the alternate names Cimeies, Cimejes and Cimeries, which could be construed as being misspellings of Kimaris.
She manifests as a goodly Mambo riding a black ’58 Thunderbird; who may appear looking like the horror hostess, Elvira, wearing a black, gothic, revealing, cleavage-enhancing gown.
Her wickedly vampish appearance is offset by her comical character, quirky and quick-witted personality, and Valley girl-type speech out of New Orleans.
Or she may manifest as a female version of Baron Samedi, smoking a Cuban cigar. She possesses the abilities of locating lost or hidden treasures, teaching trivium (grammar, logic and rhetoric) as well as making her master into a powerful Houngan.
It is said she carry her master over seas and rivers very quickly in her macabre Voodoo car, which symbolically refers to hypnagogic trance. She holds the rank of Marchioness, and is served by 20 legions of Succubae.
Kimaris can be seen as being similar to, Maman Brigitte (Grann Brigitte, Manman, Manman Brigit, Manman Brijit) who is a death (trance) lwa and the female counterpart of Baron Samedi of the Vodou pantheon.
She has a liking for drinking rum infused with hot peppers, whose power animal is a black Rooster. Although, Kimaris probably has a Dog as her psychopomp familiar called Sirius, or Gonk.
Like Samedi and the Guédé, Brigitte has a wicked sense of Discordian humour, which tends to be liberally peppered with outrageous sexual innuendos and various hilarious obscenities.
The over the top Monty Python humour of Brigitte, Samedi and the spirit family of the Guédé’s is utilised to remind you not to take yourself too seriously, as well as making wiry social comments about the insanity of those in power.
For example Maman Brigitte would have exposed her right breast at a Super Bowl XXXVIII, which was broadcast live on February 1, 2004 from Houston, Texas on the CBS television network in the United States, just like Janet Jackson did.
She might even say: “It’s truly embarrassing for me to know that 90 million people saw my breast, and then to see it blown up on the Internet the size of a computer screen … But there are ‘much worse things in the world,’ and for this to be such a ‘focus,’ I don’t understand.”
It just so happens, while Jackson’s exposed Entartete Kunst breast shocked hypocritical church, synagogue and mosque leaders, along with whoring politicians, whom raged and frothed at the mouth, demanding an immediate crackdown, and widespread debate on Elvira indecency in broadcasting, there was an inquiry into the failure to find WMD’s in Iraq, which damaged the credibility of the US and Britain.
However, the general public had been otherwise whipped up to be far more concerned about Jackson’s baby feeder breast, of perceived pornography, than to be worried about the pornography of a war raging in Iraq. When you see the joke, you have to laugh, otherwise you will go quite mad.
The humour of the Guédé’s is also utilised to offset a morose state of mind, which tends to afflict those whom explore the arena of the occult, which is primarily due to their dogmatic attitude of an indoctrinated religious sentiment.
The comical antics of the Guédé’s entered upon the worldwide stage, when they influenced the dark humour of the 1960’s sitcoms of The Addams Family and The Munsters, whose characters are akin to the Guédés.
As a New World lwa, Maman Brigitte is syncretized with various saints, including: Saint Brigid, and Mary Magdalene who protects gravestones in cemeteries if they are properly marked with a ‘solar’ cross. Brigitte originally comes from pre-Christian pagan Britain of a Woad skinned Cimmerian.
Her name originates from Brigid, the Celtic ‘triple goddess’ of light, poetry, smithcraft, and healing. It is very likely that Brigitte entered into Haiti when pagan Europeans were fleeing the persecution of their elder faith by the inquisitional church, during the genocide of the Witch burning era.
Brigitte’s origins is revealed by a Creole song, which is chanted in ceremonies: “Maman Brigitte, li soti nan anglete;“ when translated is: “Maman Brigitte, she comes from England…”.
Maman Brigitte is presently seen to be the wife of Baron Samedi, who is the Master of the Cemetery and chief of all the departed ancestors, who are collectively known as lwa Guédé. Hence Kimaris is described in the Goetia, ruling over the spirits of Africa; but as Brigitte she rules over the spirits of Europe as well; suffice to say, she has no time for racists. The connection between Brigitte and Samedi indicates a wedding of a sublime synthesis between the European and African pre-Christian elder faiths.
It is traditional that the grave of the first woman buried in any cemetery in Haiti is consecrated to Maman Brigitte, upon which her ceremonial cross is erected. She is then invoked to ‘raise the dead,’ in order to cure and save those who are afflicted with a deathly illness caused by malign maledictions. Below is a song about Maman Brigitte sung in Vodou healing ceremonies in Haitian Creole:
“Mesye la kwa avanse pou l we yo! Maman Brigitte malad, li kouche sou do, Pawol anpil pa leve le mo (les morts, Fr.) Mare tet ou, mare vant ou, mare ren ou, Yo prale we ki jan yap met a jenou.”
English translation: “Gentlemen of the cross (deceased ancestors) advance for her to see them! Maman Brigitte is sick, she lies down on her back, A lot of talk won’t raise the dead, Tie up your head, tie up your belly, tie up your kidneys, They will see how they will get down on their knees.”
The healing chant can be interpreted as meaning, “tie up your belly, ‘gird up your loins’ to prepare for the strain of the ritual, we will make the people who did this evil spell get down on their knees to beg pardon and receive their punishment.”
The primordial practices of Haitian Vodou appears to be quite separate from the high tech futuristic world of cold cybernetics. However, the Cyberpunk author William Gibson sought to forge a Neuromancer bridge between these apparently separate realities in his novel Count Zero. The principle character of the novel is a hacker extraordinaire, going by the name Bobby Newmark, whose handle is Count Zero. Newmark encounters an artificial intelligence on one of his jaunts into the virtual realities of cyberspace, which manifests as a woman, surrounded by wind and stars who saves him from flatlining.
Newmark does not why he had encountered the woman on the net, or why she had saved him from certain… death. Newmark’s journeying into cyberspace is none too different to that of a shaman attaining trance ingress into a lucid dream.
Further on into Gibson’s mythic work of synthesis, we meet up with the mysterious girl, Angie Mitchell, whose head has been rewired with a neural network, which enables her to channel entities from out of Cyberspace without a deck, who is in essence, possessed, like a medium communing with the realm of the dead.
Newmark eventually meets Beauvoir, who is a member of a Vodou cyber sect, whom relates that in cyberspace the entity he actually met was Erzulie, and that he is now a favourite of Legba, the lord of communication. Erzulie is a lwa of love and sexuality, you can also fuse with Kimaris, since sex (1) and death (0) become one in superimposition state orgasmic trance.
Erzulie’s full title is Erzulie Freda Dahomey. The name of, Freda is derived from the Norse Goddess of sexual love and Witchcraft called, Freyja, mistress of Cats, the Saxon’s knew as, Freo.
Catwoman Freyja is also a Goddess of the dead, who has similarities with the Celtic Goddess Brigid.
Freyja’s male counterpart is the shamanic deity called Odin, the Saxon’s knew as Woden. Odin is seen to be very much akin to the ancient Greek shamanic deity called Hermes, who is the lord of communication; whereby similar to the African lwa Legba.
Odin is also the lord of the dead, who has similarities to Baron Samedi. Although, another lwa called Papa Ghede, who is similar to Baron Samedi wears spectacles with one lens missing, which appears to refer to Odin having a singular eye. In other words, the Northern European deities have been assimilated by African Vodou, which has led to a superb cross-cultural symbolic synthesis.
Beauvoir explains to Newmark that Vodou is the perfect spiritual paradigm for this era, because it is pragmatic – “It isn’t about salvation or transcendence. What it’s about is getting things done .”
Gibson’s book intuitively grasps that there is a need for a symbolic interface with the coming cybernetic technologies of virtual reality systems, which leads the reader into the organic symbolism of Haitian/New Orleans Voudou.
As a fan of jazz and other urban music, which Gibson knows is heavily influenced by African rhythms, he instinctively found a symbolic interface, which had the necessary fluidity to evolve alongside an ever evolving technology, whereby allowing the user to not forget their humanity in the process.
There are many intriguing associations, which Gibson had discovered between the African-descended spiritual system of Vodou and an emerging high-tech future of cybernetics; these associations are shamanic of orientation. But, what do you expect, shamanism is all about altered states of consciousness, which requires you to have an in depth understanding of your own neurology. Gibson is tapping into the zeitgeist concerning the coming singularity, which fuses cybernetics with the science of neurology. Though at first seemingly unrelated, Gibson sees the synthesis of Vodou as providing us with one of the hidden keys to the Matrix, which is the need for a symbolic language form to be used by a virtual reality interface with the machine; this is in essence none too different to the symbolic language form of the dream.
Kimaris empowers shamanic trance ingress into the amniotic astral ocean of inner space, which is technologically mirrored by Cyberspace, where a sorcerer can conjure the Succubae into his lucid dreams, who are all as sentient programs; with whom he can thence engage himself with, within their virtual reality dream worlds.
Kimaris may make you wonder if the singularity has already occurred and that you are existing within a vast computer simulation.
When you come to this realisation, you might just hear Livivng Dead Girl Kimaris purring into your left ear of clairaudience, reminding you of a Schrödinger feline, along with smelling a waft of cigar smoke, mixed with the aroma of rum.
The twenty-sixth Succubus archetype of the Fallen ‘Anima,’ who is listed in the Goetia is called Bune or Bimé or Bim. She is a Duchess who governs over 30 legions of (Succubi) Succubae. The name of Bune could have been derived from the Old English Bune, for reed and that of an associated 15th Rune.
Although you have the word, boon, meaning luck and wealth, which is etymologically associated with the Spanish, Buena, which means, good. You also have the Eastern European, Bune, which is a term for a certain type of bun, along with a slang term for the perinium and bunny. As for Bimé and Bim, they appear to be derived from Bune.
Bune is very likely derived from the Japanese word for, ship. This is further compounded when to look at Bune’s grimoire seals, which are an abstract representation of a Japanese ship, whose construction has a very distinctive shape of an uncanny similarity to Bune’s two seals.
One of the seals of Bune you could imaginatively associate with the Utsuro Bune of Japanese UFO lore, should you desire to take the associations further.
Although the Utsuro Bune is described as being shaped like a bun; while Bune’s other seal depicts a horned dragon, which is traditionally considered to be Bune’s most powerful seal.
The horned dragon motif of Bune’s seal is self evident, which also depicts what appears to be a humanoid figure steering a rudder, who is probably female, considering there was a bunny girl pilot piloting the Utsuro Bune, who was late for an important date; then again, maybe she wasn’t, if the Utsuro Bune was a time machine.
In Japanese lore the horned dragon is very much tied up with what is known as the Takarabune, which means Takara/treasure and Bune/ship.
The Takarabune treasure ship is often depicted as having the body of a dragon, with a horned dragon’s head as its prow, somewhat akin to a Viking ship.
The dragon symbolism often refers to the star constellation of Draco, which if you be so inclined you could even associate with the Dragon’s Triangle just off the coast of Japan; whose time maelstrom, 16th century Portuguese gun runners and slavers tended to avoid, by using Bune’s dragon seal in order to protect them from killer bunnies.
Bune is also described in the Goetia to be associated with a Gryphon, which in Japanese lore would be otherwise depicted as a giant Eagle called a Garuda out of Hindu mythology; whereas in astronomy it is associated with the star constellation of Aquila. You could even relate the Eagle with the ‘Plumed Serpent’ of the Americas, where there be a Bermuda Triangle; whose time maelstrom, 16th century Portuguese gun runners and slavers tended to avoid, by using Bune’s less elaborate seal in order to protect them from vicious Sirens.
A 16th century Jesuit priest returning back from a Portuguese slavery expedition to Japan, having the full blessing of the church of Rome; who, when attempting to describe a Garuda to his Christian audience, would probably describe it as being of a composite form, of similarity to a monstrous Gryphon. However, such a description would be due to the Garuda being a favourite trance mount of Mongol shamans, who frequent Genghis Khan’s steppe from where the Attila the Hun symbolism of the Gryphon had originally stemmed, which still haunts the nightmares of Rome. The Garuda is associated with the winds; wherefore in context of a dragon ship, it would probably be that of a symbolic code alluding to the sail of the Mermaid Takarabune.
Another animal, which is associated with Bune is the Dog. In astronomy the Dog is associated with Canis Major and the star of Sirius. The Dog is extensively featured in Japanese myth, more so that of the Fox. Although, the Dog is not specifically associated with the Takarabune, there is another animal, which is very much involved with the Takarabune called a Baku. The Baku was seen to be a devourer of negative influences assailing the dreams of the Japanese, which, ironically, was a Chinese creature originally. Don’t tell Bune that, otherwise you will hurt her feelings, since she’s a Shinto priestess, who’s highly versed in the martial arts.
The Baku was very likely mistaken by a 16th century Portuguese gun runner and slaver for a Dog. The Spanish, Dutch and British invasion forces likewise misinterpreted the Baku when taking over Nagasaki, who were later followed by the American’s, long prior to WWII, when Nagasaki was nuked. The Baku is actually a Tapir, whose Japanese character is often shown on the sail of the Takarabune.
The described functions of Bune can be summed up by the ancient Japanese ancestor worship of Shintoism, whose practices revere the ancestral dead, from which the Takarabune originates. Shinto, also kami-no-michi, is the indigenous religion of Japan.
It is commonly defined as an action-centred religion, which focuses on ritual practices to be diligently carried out in order to establish a spiritual connection between present-day Japan and its ancient ancestral-self-identity.
Whereas the invading European cultures had entirely forgotten their own ancestors to otherwise appropriate the ancestral-self-identity of the Hebrew’s, who sought to likewise afflict the same insanity upon the Japanese.
It is said that Shinto had been founded in 660 BC according to Japanese mythology. Shinto practices were first recorded and codified within the written historical records of the Kojiki and Nihon Shoki during the 8th century.
Shinto is a term, which also applies to an animist religion, where public shrines are devoted to the worship of a multitude of deities, which are collectively called Kami.
The Kami are defined in English as being ‘spirits,’ or essences as well as deities, referring to their informational reality, underlying phenomenal existence, beyond the infinite.
Since Japanese language does not distinguish between singular and plural, Kami refers to the divinity, or sacred essence, which manifests in multiple forms. The Kami coexists with people; they are not seen as being separate; whom exist within the same world and share its interrelated complexity.
There are also references to certain spirits being associated with Bune, which are supposedly called Bunis by the shamanic Tartars of the steppe. A 16th century Portuguese gun runner and slaver had probably equated the Japanese practice of Shinto with the then maligned shamanic practices of the Tartars whom dallied with (Bunis) spirit wives.
You can easily imagine how a Christian audience had reacted to early reports of Shinto, to see it as a dreadful Pagan religion of the dead, worshipping vile spirits. Wherefore it was not a sin to have acquired pagan slaves, more so Japanese slave women to serve the whims of their masters Hentai desires. Although the Bunis specifically refer to the spirits under Bune, which as a ship, are as its crew.
The Takarabune is traditionally seen to have a crew of Kami, called the Shichi Fukujin, commonly referred to in English as the Seven Lucky deities, who are the seven deities of good fortune in Japanese mythology and folklore. The Shichi Fukujin are often the subject of Netsuke carvings and other artistic representations.
The reference to the number seven could be a an astronomical association with the seven stars of Ursa Major or the Pleiades, perhaps even the seven Chakras. Whereas a 16th century scholar had probably otherwise equated the seven lucky deities to the seventh Cabbalistic sphere of Venus.
The Shinto tradition still holds that the seven deities arrive in town within their Takarabune, like some descending UFO of a Utsuro Bune Time Machine or that of a prior Star Trek Enterprise, on the New Year around the star clock. These seven deities then set about distributing fantastic gifts to worthy people.
Children often receive red envelopes emblazoned with the Takarabune, which contain gifts of money during the New Year. The Takarabune and its celestial passengers are often depicted in art in varied locations, from the walls of museums to cuddly caricatures, whose monetary gifts is said to be also bestowed by the Bune of the grimoires.
The ability of eloquence is one of the principle abilities Bune bestows along with wisdom. This eloquence specifically refers to Shinto’s emphasis on the power of words, which is termed as Kotodama or Kototama, literally ‘word spirit/soul.’ The term Kotodama refers to the Japanese belief that mystical powers dwell in words and names.
English translations include, ‘soul of language, spirit of language, power of language, power word, magic word,’ and ‘sacred sound.’ The notion of Kotodama presupposes that sounds can magically affect objects, and that ritual word usages can influence our environment, body, mind, and soul. But then, when a word is consciously uttered of lucidity within an electron dream it does initiate instantaneous symbolic associations.
Wherefore you have to use such an informational domain ability wisely. This ability of inner eloquence is primarily bestowed by one of the seven lucky deities who is originally the Hindu Goddess Sarasvatî Devî. In Japanese Sarasvatî Devî is otherwise known as Benzaiten, who is the Goddess of everything that flows: water, words, speech, communication, eloquence, music and by extension, knowledge and monetary wealth.
The original characters used to write her name read ‘Biancaitian’ in Chinese and ‘Bensaiten,’ in Japanese. Benzaiten’s name reflects her role as the Goddess of eloquence. Because the Sutra of Golden Light promised protection of the state, she became a protector-deity in Japan, at first of the state and then of the people. Lastly, she became one of the seven deities of fortune when the Sino-Japanese characters used to write her name changed to Benzaiten, emphasizing her role in ‘bestowing Monetary Fortune.’
Benzaiten is also a Goddess of art, beauty and love, who is beloved of the Geishas, whom are very much of the planetary sphere of Venus, from where Bune classically emanates, as a seventh dimensional entity. The symbolism of the Geisha has since been translated via Manga and Anime into the evolving symbolic complex of the modern Japanese schoolgirl motif. These Manga and Anime schoolgirls are usually depicted wearing ‘sailor uniforms,’ who have taken on the role of the Buddhist Dakinis, time travelling around in their Utsuro Bune UFO’s.
Should you feel so inclined of a rebellious reversal, you could thereby perceive Bune as being similar to Benzaiten, who manifests as a Japanese schoolgirl, speaking with a most comely voice, whose symbol is the Takarabune.
She would also be a Shinto priestess, who enables the Kami to frequent your altars to alter via the ‘seventh dimension’ as well as being highly versed in wealth magic. (Bune’s two seals represent her manifestations as a [first seal] schoolgirl and a [dragon seal] Shinto priestess.)
You could of course continue conjuring up Bune as being a monstrous blood drenched death metal entity amidst your branded Triangle Of Art Imagination. Such is your indoctrinated choice to do so, since many a brain down the ages have been brainwashed to worship the deified ‘Animus’ made as a Jehovah/God-Christ/Allah and a Satan/Devil-Lucifer/Shaitan.
But you will be invariably playing into what has been established of a 16th century Christian perception of animist Shinto.
The practices of animist Shinto absolutely horrified the patriarchal flocks frequenting their monotheist church, even though they were surrounded by the pyres of burning Witches at a time when a sweaty monk was drawing Bune’s seals, which no doubt kept the fleecy minded Sheep all nicely ignorant, and brain-dead zombie cult comfy.
You will still have the shock factor should you conjure up Bune as a Japanese schoolgirl Succubus archetype of the Fallen Anima. Although you will probably be seen as being a Playboy grimoire wimp by the death metal mages, who like to habitually conjure up their machismo entities out of bisexual Crowley’s Playgirl Goetia.
However, you will certainly get the tongues of the flocks a wagging that you be a vile Satanist or worse, which would be especially the case should you suddenly win the lottery jackpot after an erotic precognitive dream involving a Japanese schoolgirl piloting a luxury yacht looking like a bun. In fact it would be far more Entartete Kunst shocking than conjuring up a demonic choir boy of Petrodollar Vatican commonality.
Just remember, don’t take the hedonic Hentai piss out of Japanese schoolgirl Succubus Bune; for she will surely reflect you back within your lucid dreams. If you ignore this warning, you might just find yourself wearing a sailor uniform being pursued by phallic tentacles without a Baku in sight. But then she does give true answers unto your demands. So be careful of what questions you to ask. In the recognition of this Shinto fact, of an eloquent conjuration of one of the Kami, you will then attain the Takarabune wealth of inner wisdom, as well as Bune gifting you a tasty Nikuman Bun of an apport, in the shape of your own skull, housing your ‘Quantum Computing’ brain.
NOTE:Most psychologists of varying psychological disciplines are very much aware of the Animus and Anima, which were scientifically investigated and clarified of a psychological function by the psychologist Carl Jung.
However, said psychologists, and even Jung, himself usually describe the Animus and Anima in very convoluted language, which of labyrinthine intellectualisations, lose any applied practicality. The following has been simplified for the layperson.
But then it is all very simple of nature anyway. Hence, without thinking about it, an everyday psycho-biological process is easily taken for granted, and thereby entirely missed. Wherefore, the likes of politically motivated social-engineers utilise what is habitually not self-observed in order to influence and ultimately have total control over the quite oblivious masses.
The personal observance of how the Anima and Animus can be subversively manipulated by others of mundane emotional politics can be observed in ones everyday relationship dynamics, which can then be applied to the bigger picture.
Jung was probably aware that the Animus had become deified by the religious cultural constructs of the three monotheistic faiths, whose shared symbolic paradigm permeates all levels of your culture.
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.
You could easily equate a superhero comic book with an illustrated medieval grimoire.
Both of these works illustrate archetypal characters, which have particular abilities and powers along with having personal seals, wearing planetary colour coded costumes, and in some cases being associated with animal totems.
The dream Yoga technique initially involves the practitioner visualising him self as being a certain type of a Buddha, which are known as Raging Buddhas. Each Raging Buddha has certain abilities the practitioner seeks to access when assuming the raging Buddha as his alternate guise, within a lucid dream.
The dream Yoga technique is of similarity to what is known as the Raikov Effect. During the 1960’s and 1970’s, the Russian neuropsychologist Dr. Vladimir Raikov and Czech psychologist Dr. Milan Ryzl hypnotised individuals to believe they had been famous Artists, Musicians and Scientists, etc, in a past life.
Raikov and Ryzil soon discovered that the skills associated with the artificial reincarnations remained as new abilities after the subjects came out of their hypnotic trance. You also have the Borrowed Genius, which is based on Raikov’s work, involving self-hypnosis. The Borrowed Genius technique was developed by Win Wenger.
As for the dream Yoga technique, it is orientated towards inducing a lucid dream within which the practitioner assumes an alternate guise of a Raging Buddha. Each Raging Buddha is associated with particular spiritual qualities, abilities and (Siddhis) powers the practitioner seeks to attain by assuming the dream guise of a chosen Raging Buddha.
The Dream Yoga technique also involves the introversion of the sexual impulse in order to engender and empower a vivid lucid dream, since the numerous Raging Buddha’s are correspondingly sexually coupled with their female counterparts called Dakinis.
The Dakini is essentially a Succubus, who is not just a sexual entity, she is also seen to be like a wish fulfilling Genie.
A Dakini represents the energetic quality of a particular dream domain, which a Shaman sees as a spirit world, you can otherwise term as an alternate reality if you want.
A Dakini enables a practitioner to assume a guise of a chosen Raging Buddha Avatar within a lucid dream.
The Dakini dream scenario will reflect back the Raging Buddha of an alternate guise, which has been assumed by the practitioner.
For example, a Sorcerer could otherwise assume the guise of Batman within a lucid dream via the conjuration of a Dakini looking like Batwoman.
The reflected dream scenario of the conjured Dakini will probably be that of Gotham city, which will be correspondingly formulated from the memories of the practitioner.
However, if the practitioner has been heavily influenced by the controlled mass-media and its politics, then Batwoman may be inappropriate to conjure, unless of course a heterosexual male practitioner seeks to rebel against the obvious social-engineering of popular culture.
When to rebel, the conjuring of Batwoman will give him an insight into how his mind can be subliminally affected by external symbolic stimuli, which has been engineered to do so by the controlled mass-media.
Basically, it is mind-control, a practitioner seeks to free himself from, by engineering his own inner conjurations. The rebellion involves a Sorcerer seeing himself as as a Raging Buddha Batman, while meditating upon his Dakini Batwoman of a counterpart prior to dreaming.
The meditation would involve meditating upon erotic Dakini imagery of Batwoman, along with repetitively intoning her name of a mantra.
This would also involve visualising Batwoman’s ‘seal’ of a Bat motif, as well as the sorcerer imagining himself being amidst Gothic Gotham city, which to overlap his own waking locale of frequented power places, to make mythic of quality.
Batwoman’s planetary colour is primarily black like that of her anti-thesis Catwoman’s preference for black leather, which in occult practice is associated with the planet Saturn, and in turn the ancient Greek Goddess Hecate.
The symbolic correspondences of Saturn the Sorcerer seeks to tap into, when to assume the Raging Buddha Avatar of Batman within a lucid dream.
A Sorcerer may be assuming the Avatar of Batman via his lucid dreams for various reasons. But it would require him to conjure Batwoman amidst his Triangle Of Art Imagination first as his Dakini in order to empower his lucid dream to become vivid of quality.
He may be seeking to assume the guise of Batman, when to couple with Dakini Batwoman as his Succubus, because he seeks to attain those qualities associated with this particular superhero.
Such as attaining supreme self confidence and inner strength, when to take on the thought-police who frequent the politicised comic conventions of his waking realm.
Or perhaps he is conjuring up Dakini Batwoman, in order to become more intuitively streetwise, so that his mind doesn’t end up being mind-control mugged by social engineers who are seeking to brainwash the mass-populace.
Whatever the case, the technique enables the Sorcerer to reprogram his own subconscious mind via lucid dreaming.
There are numerous other Raging Buddha superheros to choose from; each of which will be sexually coupled with their corresponding Dakini supeheroines.
Their abilities and powers are listed in many a comic, of similarity to what you will find within a medieval grimoire.
However, a Sorcerer has to be realistic. If he desires to fly like Superman, or to swing from building to building as a Spiderman, it will rapidly lead to his doom when to leap out of a skyscraper window.
These (Siddhis) powers allude to shamanic abilities, which are attained within lucid dreams, you can otherwise term as Out Of Body Experiences and Remote Viewing of the collective unconscious via conscious dreaming.
The assumption of the Raging Buddha Hulk of an Avatar may increase your bodily strength over time; for an intensely experienced lucid dream, will affect your body memory. This is because your nervous system cannot tell the difference between a real or a vividly imagined event.
The assumption of a Raging Buddha Hulk may lead you to having an overwhelming subconsciously driven need to regularly visit the local gym, where the fit ladies wear superheroine Yoga pants.
The Hulk or that of some other similar character internally assumed, can also be utilised to attain a ‘controlled’ berserker rage, of self-induced anger management, to break through the blocks of emotional traumas within the dream, in order to overcome assailing nightmares.
Whereupon the practitioner will attain martial-arts control over his anger.
What I am attempting to communicate here, is that the superhero genre can be utilised for Sorcery practice.
This Sorcery practice hearkens back to the ancient Shaman assuming alternate guises, when accessing self-induced (hypnagogic trance) hypnosis in order to heal himself and others.
At a mundane level, the superhero genre, though beloved by many a comic fan, generally puts others off, who see it as being inanely childish.
But then you do have superheroes all leaping around wearing gaudy skin-tight costumes, which the detractors to laughingly argue is totally ludicrous and utterly unrealistic. Yet the superhero genre is very popular. Hence the reason why social-engineers are seeking to utilise its influence for political reasons.
However, the superhero genre is obviously not about everyday mundane reality.
It is about something else, a Shaman would equate with the depiction of archetypal spirits who symbolically represent qualities one seeks to attain, to thence ritualistically act out of cosplay Artistry.
The reasoning behind why a Shaman dressed up in ritualistic regalia to then trance dance cosplay ‘theatrical’ was in order to implant the assumed symbolism into his subconscious mind.
Whereby he becomes the mythic character of his focus, within an induced lucid dream.
Of course the sacred theatre of the Shaman is not understood by many, since they have become totally disconnected from the internal reality of the dream.
The hypnotised focus of the masses is primarily externalised of mundane entertainment, whereby they can be easily manipulated by the controlled mass-media machine.
The Shamanic perspective of the superhero genre is that the superhero role-models belong to the archetypal reality of the dream.
Wherein of a symbolic existence, the archetypes are very real of a subconscious influence upon the psyche of an individual, the collective mind and thereby influencing society.
The superheroes have become personified ‘brands.’ Some of them have attained iconic status, of similarity to the mythic deities of elder lore, which have been woven into intricate modern day mythologies.
For example, Catwoman has mythic associations with the Cat Goddess Bast of ancient Egypt and the Norse Goddess Freyja, who is the mistress of Cats and Witchcraft.
However, the practice of Witchcraft is not mentioned in association with Catwoman in the comic, TV series and film depictions of her to any great degree, if at all.
Although, you will find Catwoman’s mythic foundation of the Witch is not too far away within the depths of your subconscious mind.
As for the symbolism of the Cat, the feline is very much tied up with the erotic feminine principle.
Wherefore Cat-thief Catwoman is the distillation of feminine wiles and sexuality, whose superheroine qualities can be internalised of ritualistic cosplay by a female practitioner, who sees herself as a Cat, which of imagined shape-shift practice, Witches do all the time.
However, the superhero genre is primarily dominated by male characters who are archetypal aspects of an archetype residing within the psyche of all women, the psychologist Carl Jung termed as being the ‘Animus. The female counterpart of the ‘Animus’ is the ‘Anima,’ which resides within the psyche of all men.
The male audience naturally gravitates towards those (Raging Buddha) male role-models, which have been determined by women to be the most sexually attractive to them.
The ‘Animus’ fixation of the medieval ‘Playgirl’ grimoires are none too dissimilar to the all male dominion of the superhero comics of the West.
Although, such is slowly changing in regards to American comics in particular, which had first sired the superhero genre of a media empire.
Whereupon the superhero comics have become synonymous with American culture, caught betwixt and between the Boaz and Joachim Blow-Job mass-media towers of Marvel and Disney.
Whereas in Europe, which had not explored the superhero genre to any great extent, such as France, Spain and Italy, for example, more so, to the far East of Japan, and its influential Manga, there has always been an animist balance between the depiction of the ‘Anima’ and ‘Animus.’
The financial success of the male characters in films, comics and video games, etc, is primarily due to the adoration of heterosexual female fans in particular. This adoration of the ‘Animus’ is mirrored by the monotheistic religions, which refer to the deification of the ‘Animus’ residing within the psyches of all women.
You might consider this as sounding rather crazy, but it isn’t. Think about it, if you have an overriding fixation upon a particular gender, it thereby indicates an underlying sexual orientation behind it all.
It’s nature, which cannot be denied, and she’s a whiplash Witch bitch.
The male archetypes can be generally reduced down to two types, a Beta-Male Good-Guy Christ and an Alpha-Male Bad-Boy Devil, which are aspects of an All-Father ‘Animus’ fixation, within the psyches of women, who are by nature, very jealous indeed.
“Jealous… jealous of what?” You might enquire. Other women of course, which is especially the case if men find certain females being attractive to them.
They are very competitive among each other; more so than men. Hence, the ‘Animus’ fixated paradigm has entirely castigated the ‘Anima’ out of the symbolic equation as the Fallen, which of gender politics is continuing.
In other words, at an esoteric level, the all male symbolic paradigm of the monotheistic religions has been empowered by the ‘Animus’ fixation of the women.
It is the women who have forged the Three ‘Animus’ fixated religious constructs of present civilisation via their chosen Beta-Male prophets, insanely dancing around a ziggurat, since the time of Sumerian UR.
If heterosexual orientated males had created a religion, it would more likely have a fixation upon their ‘Anima’ of a sex Goddess, looking like an Ishtar version of Harlequin.
Whereas the ‘Anima’ within the male psyche, as mentioned prior, has been flung into Hell with all her legions of salacious (Succubi) Succubae, whose very existence was never investigated by the grimoires, apart from having a celibate Virgin Mary.
It is only now, under the revolving Karma clock of Zodiac age stars, that the Succubae Great-Old-Ones of the Fallen ‘Anima’ are emerging out of their uterine prison of the abyss, beyond the Angel angles.
The Succubae archetypes of the Fallen ‘Anima’ are presently being listed in many a Necronomicon Grimoire Comic, wearing spray on costumes, awaiting to be conjured by Horny Abdul Alhazred rebel sorcerers.
However, feminist extremists and their Social Justice Warriors have noticed this rebellious trend, which they are seeking to socially engineer out of existence, by castigating the ‘Anima’ as being sexist.
This involves transforming sexually attractive female characters into unattractive man hating butch Banshees, as well as transforming iconic male characters into masculine women.
Remember the 1937 Entartete Kunst,it is occurring again. Should you be versed in Dr. Evilhistory, you will know what the PsyOp Entartete Kunstled to of Military Industrial Complex design.
As for the Hippie movement and feminist politics, it had initially been PsyOp engineered out of Laurel Canyon, California, in order to distract the general populace from becoming engaged in Anti-War protests. But the PsyOp campaign did not go as planned, which was mainly due to the draft and mounting body bags.
Now you have automated warfare, A.I. guided bombs and drone strikes, along with using weaponised sanctions and proxy wars. When soldiers are employed in a conflict of a last resort, the controlled mass media machine makes no mention of the body bag count as well as ignoring those who speak out against war. But then, the general populace are far too distracted with Laurel Canyon protesting about their genital rights, leading to gender transformations in comics, films and video games, etc, while A.I. drones snuff out Big Bother’s enemies!
NOTE:There is the distinct possibility that the increasing A.I. automation of the workplace and the ensuing loss of jobs, which in the main affects the male population, the women are left feeling very insecure about themselves and for the future of their children. This invariably leads to their anger being meted out upon the men, who have been disempowered and let down by the establishment.
The women then seek to become empowered, which invariably leads to their ‘Animus’ archetypes being transformed into masculine women, since they subconsciously see the males being unable to attain their allotted role-models.
This also leads to the ‘Anima’ archetypes being transformed into butch females in the mass-media. The transformation of the ‘Animus’ and ‘Anima’ archetypes featured in films and on TV, etc, reveals that it was always the women who have called the audience shots concerning the mass-media.
However, the supposed female empowerment, will eventually fragment under the reality that the rapid automation of the workplace also affects women.
This social change has been subversively hijacked by those having a political agenda, who are utilising the age old subversive PsyOp technique of dividing and conquering the masses by weaponising minorities, which then makes the minorities a target; this is being done in order to distract public attention away from protesting about very costly wars.
These wars, whether they be that of weaponised sanctions, or that of Petrodollar bombs being dropped all over the Middle East due to an oily pipeline, and elsewhere, along with utilising known terrorist groups in proxy wars, etc, obviously leads to the mass migrations of peoples, fleeing into other lands. Yet there are hardly any protests against these wars, the controlled mass-media pushes since 9/11, which afflicts the whole world.
The Dr. Evil few whom profit from endless war, are also fleecing the fleeing populace of war torn lands, who are in turn automating the workplace.
This isn’t to say that the automation of the workplace is necessarily negative, it is just that the establishment appears to be not considering its social impact upon the populace, nor making any plans as to how to positively deal with an out of work workforce, unless the corporate few are planning population reduction, via an engineered tick born plague or a false-flag Oily war. Hopefully not!
Although the PsyOp engineered conflict between the sexes, which leads to women and men going their own way, can be construed as being population control.
One could conjecture that the women’s assumption of the male role, is of similarity to a ribald Jewish woman getting angry at her muscle bound Nordic husband called Thor, who has been given the boot by automated Amazon.
Amazon now has A.I. driven trucks and drones delivering goods from their automated warehouses. Thor had been employed as a trucker, who now drunkenly slouches on a couch, while Ragnorok approaches.
After screaming at him to do something, otherwise she is going to leave him for a butch Valkyrie to shack up with, his wife, having the physique of a ballerina, ends up lifting her husband’s weightlifter hammer.
This of course gets Thor to emotively react, and storm around the house, howling, “I’m the Man, around here!” She to reply, “prove it, and rise up against what is occurring.”
Those who Banshee scream that I should also involve politically correct pronouns, etc, my answer is, I am not going to indulge the Orwellian Newspeak of the corporate owned establishment, which is pushing for endless war.
Alas, all men and women across the globe of whatever sexual orientation or gender they believe themselves to be have to unite in this fight, before Ragnarok, in whatever form it takes, becomes an Endgame reality.
Marvel Comics has decided that its hammer-wielding Norse superhero Thor will now be transformed into a woman.
Of course they don’t own the archetypal character of Thor; Marvel only owns their particular brand of a Thor image, since Thor is derived from ancient Norse mythology, who in Old Norse is called Þórr. Thor is a hammer-wielding God associated with thunder, lightning, storms, oak trees and strength, whom protected humanity against malign influences. He is also associated with hallowing, healing and fertility.
The cognate deity in wider Germanic mythology and paganism was known in Old English as Þunor and in Old High German as Donar, stemming from a Common Germanic Þunraz, meaning thunder. Many ancient cultures across the globe associated storms, lightning and thunder with the masculine principle. For example, the Hebrew deity, Jehovah, was originally a storm God.
As for Marvel, they explained that the marketing logic behind Thor’s transformation into a woman is that it would attract more women and girls to read superhero comic books, which of a pandering politically correct feminist frontage makes sense to the Hollywood zapped brains, who are drunk on plastic pseudo-philosophies. But in reality, it doesn’t quite make common-sense at all.
Let’s be honest here. In general, there are a lot of heterosexual males whom like reading comics with female characters in, because they enjoy lapping up scantily clad females wearing spray on ultra vixen superheroine costumes, whose lithe gymnastic forms represent the ‘Anima,’ residing within their heterosexual male psyches.
Whereas heterosexual women like comics populated with protective butch machismo alpha males, bristling with muscles looking like an oiled up Greek God or a rough neck Thor, wearing spray on superhero costumes with a tight Baboon butt; these type of males represent the ‘Animus,’ residing within the heterosexual female psyche.
Basically, the Marvel comics have based their superheroes and anti-heroes upon the already established ‘Animus’ archetypes of a God/Devil, Angels and Demons.
This has been going on for sometime since ancient Rome was converted to Judaeo-Christianity by Constantine, whose cultic focus is primarily that of a female fixation upon the male, which is basically their deified Animus.
It is essentially biologically driven, since men gravitate towards those male role-models that females find most attractive, who represent their ‘Animus.’ Wherefore the ‘Animus’ of women dictate the male role-models.
The ‘Animus’ is masked by the religious symbolism of a facade, which has since been translated into the superhero genre.
The female archetypes didn’t get much coverage for a long time because Marvel was constrained by the moralistic chains of the Biblical comics code.
The Inquisitional thought police are well aware that female characters are archetypes of the ‘Anima,’ which would get a lot of little boys reading ‘good-girl’ comics under their sweaty bed sheets.
The depictions of the Fallen Anima is a yet untapped market. But is a Lady Thor tapping into this market? I doubt it. Marvel/Disney can’t say that Lady Thor is every little boy’s wet dream cum true.
Marvel is otherwise saying, with hand on Disney wallet, a Lady Thor will attract more females to read comics, who will be empowered by having an archetypal male character being gender-swapped into a female.
But the reptilian brain market indicates otherwise. All you have to do is to look into the success of Harry Potter and Twilight, whose ‘Animus’ orientated franchises are primarily awash with female groupies dreaming of a Beta-male Harry Potter Christ, caught between Vampire necrophilia and Werewolf bestiality, of a Fifty Shades Of Grey Alpha-male bad-boy Devil.
Whereas the huge success of the video game character Lara Croft was mainly due to a large male following who lust after Lara’s gymnastic body, let alone her ‘strong Valkyrie persona.’ in other words, Lara is a virtual pixel babe with Anima substance, who, as a conjured Succubus inspires many a Tulpa wet dream.
You can thereby guess who Marvel is actually neuro-targeting of a market, which is quite small. The artwork by Russell Dauterman reveals the once muscle bound bearded Thunder God as a butch blonde looking like a Wagnarian Valkyrie opera singer, clad in a caped costume. One has to note she’s very butch. Boy, is she butch, she’s built like a WWII Tiger Tank.
Marvel/Disney’s Lady Thor has been purposefully designed to not look anything like the sexy cosplaying Lady Thor’s. But then, Marvel/Disney do not want to represent the male ‘Anima,’ apart from entirely negating its existence.
Marvel’s brand of Thor first appeared in a comic adventure back in 1962 as well as becoming the testosterone pumped up star of two blockbuster movies. However, there was a problem; Marvel’s Thor wasn’t too much of a hit with the ladies. The reason why, is because Marvel made Thor far too clean cut, like some surfer boy off a sunny Californian beach, or is it Australia? But then, most surfers all look the same in Hollywood, don’t they.
Marvel should have made Thor a bad-boy type, just as he is depicted in ancient myths, who is covered by the boxing scars of lightening; a bit like Marv out of Frank Miller’s Sin City, that is why Norse women loved him so much, to adore of deified ‘Animus’ worship. Women just can’t help themselves loving a Thor type male, across all cultures, because they feel protected by him, as well as desiring to change his rough ways, within whom they see a wise soul.
The New York-based Marvel described the transformation of their Thor brand as “one of the most shocking and exciting changes ever to shake one of the ‘big three’ of Captain America, Iron Man and Thor. No longer is the classic Thunder God able to hold the mighty hammer, Mjolnir, and a brand new female hero will emerge worthy of the name Thor,” they said in a quaint news article.
This symbolic transformation of a male archetype into that of a female character, will give you an insight into what had previously occurred, of viral-meme marketing, concerning those spirits listed within the ‘Animus’ fixated Playgirl grimoires, many of which were originally ‘Anima’ female.
The writer for the female Thor series is Jason Aaron, who said in a statement: “This is not She-Thor. This is not Lady Thor. This is not Thorita. This is Thor.” The actress Whoopi Goldberg related on the ABC’s The View; “It’s a huge day in the Marvel universe. Thor, the God of Thunder, he messed up. He is no longer worthy to hold that damn hammer of his. And for the first time in history that hammer is being held by a woman.” Another host to mention; “the story behind her is she created herself. She was saved by Thor and she came down to Earth, followed him, and made herself look like Thor and so now she’s taking over.”
The other hosts on The View, also commented on the hero’s physical features. “She’s got super-powered boobies,” said Jenny McCarthy. “She is actually in better proportion than a lot of the female comic superheroes,” said Goldberg. “It gives girls something to look up to,” said Sherri Shepherd, without realising that she looks like a Wagnarian wet dream.
So, mummy porn Whoopi Goldberg wants super powered booby women to take up the hammer of Thor does she. Well, let us look into what Thor’s hammer actually represents. In pre-Christian Europe Thor’s hammer of lightening was symbolically represented by the ancient symbol of the swastika.
Scholar Hilda Ellis Davidson (1965) comments on the usage of the swastika as a symbol of Thor’s hammer: “The protective sign of the hammer was worn by ‘women,’ as we know from the fact that it has been found in ‘women’s’ graves. It seems to have been used by the warrior also, in the form of the swastika.”
Davidson continues: “Primarily it appears to have had connections with light and fire, and to have been linked with the sun-wheel. It may have been on account of Thor’s association with lightning that this sign was used as an alternative to the hammer; for it is found on memorial stones in Scandinavia besides inscriptions to Thor. When we find it on the pommel of a warrior’s sword and on his sword-belt, the assumption is that the warrior was placing himself under the Thunder God’s protection.”
Swastikas appear on various Germanic objects stretching from the Migration Period to the Viking Age, such as the 3rd century Værløse Fibula from Zealand, in Denmark; the Gothic spearhead from Brest-Litovsk, in Belarus; numerous Migration Period bracteates; cremation urns from early Anglo-Saxon England; the 8th century Sæbø sword from Sogn, in Norway; and the 9th century Snoldelev Stone from Ramsø, in Denmark.
Thor’s popularity among the European populace was exemplified by the use of the swastika, which was later utilised by the Nazis, who re-branded Thor’s symbol for their own warped political agenda. A number of white supremacist right-wing Christian neo-Nazi nutcases in the USA were up in arms at the news that Marvel comics was doing a Thor movie in which some of their ancestral Norse Gods were to be played by black actors. Apparently, the ethnic identity of the archetypes from antiquity, is of a real political lightning bolt for the sort of person, who eugenically believes that humans can be subdivided into branded races.
The ancient Norse didn’t have any problems with other peoples skin pigmentation. There are no racialist statements in their sagas. Such racialist sentiments didn’t come to the fore until the Christian’s entered Africa, India, China, the far East and the Americas, who had determined that the African’s, Asian’s, Chinese and Native American’s didn’t have souls, so it was perfectly okay to enslave them.
The followers of the monotheistic faiths always had a big problem with seeing un-baptised Pagans as being human. Hence the Pagan Norse did not like Christian Rome, whose priests sought to convert them to the appropriated faith of ‘Animus’ fixated Judaism.
The Norse couldn’t figure out why they had to assume the ancestral-self-identity of the Hebrew’s. They thought it was absolutely crazy, let alone evil, since they had to forget their own ancestral-self-identity in the process, of a Borg conversion. This being one of the reasons why the Norse, especially Pagan women, held Thor in high esteem, who was seen as a protector against the encroachment of the Witch burning Christian cult.
It is understandable that Pagan women sought out Thor’s masculine protection, since the Church started to systematically target them to burn at the stake as Witches. The reason why the Church did this, is because the ancient lore of the elder faith was traditionally passed down the female line, which was especially the case in the far North; this invariably led to the elder faith being nigh eradicated throughout Europe.
However, the Hollywood likes of Dan Brown spread the fairytale that the Witch burnings was to do with the Church seeking to terminate the bloodline of their deified ‘Animus’ Jesus, they couldn’t have him coming back to overturn the tables in their temple banks. Many a Christian fell for Dan Brown’s myth of a hard sell, and likewise the comic reading public will succumb to Marvel/Disney’s hard selling of Lady Thor. But then the elder faith no longer exists of an ancestral-self-identity; so, no one will protest too much.
Will the right-wing Christian neo-Nazis have their noses put out of joint by a female Thor who has super-powered boobies and being of a superior Nordic proportion than a lot of the other female comic superheroines. I doubt it. The Christian neo-Nazi nuts will see a female Thor giving white American girls something to look up to, who will be more prone to toning themselves up in the gym, rather than becoming obese on McDonald burgers, as well as inspiring them to dye their hair blond, of eugenic Nordic looks, when to join the army of the NWO Empire.
If Jason Aaron is seeking to piss off the right-wing Christian neo-Nazi nutters, then, rather than telling an entertaining story, he would be far more interested in social engineering and political propaganda, whereupon Aaron would make Lady Thor into a raging lesbian, who is played by a Jewish actress.
Going by the Marvel mythology, when Thor’s hammer, Mjolnir was damaged, Doctor Strange bound Thor’s soul into Mjolnir, meaning that if the hammer were to be ever broken again, Thor would most assuredly die. In ancient Norse legends, the soul of an individual was seen to be a contra-sexual counterpart, which was called the Fylgja.
Whereby Thor’s soul would be female, which going by the Marvel myth, resides within his hammer. You then have a story possibility, where Thor’s hammer is broken, which then releases Thor’s soul at his death. Thor’s soul would then be Lady Thor, who essentially personifies the power of Mjolnir.
Should you have a return of Thor, then his Lady Thor soul would seek him out amidst the infernal domain of Hela in order to revive Thor back to life, by uniting with him again of a Tantric nutcracker suite. In the meantime, prior to Thor’s soul seeking to reunite herself with him, she would have many a Marvel adventure as Lady Thor, who would very likely be a raging lesbian due to her previous heterosexual male existence, which no doubt Marvel/Disney will indulge.
This scenario could potentially lead to Marvel/Disney believing that they will reap in the dollars, since you would then have a number of other superheroine characters of differing ethnic types intimately interacting with Nordic Lady Thor, all of whom will be wearing spray on costumes, and what interracial cosplay fun to be had!
Overall, a Lady Thor of a Fallen Anima archetype could potentially enable a healing of the wounded European psyche concerning the misappropriation of the Northern myths by the white-supremacist right-wing Christian Nazis, who have an overriding fixation upon the Biblically indoctrinated masculine principle of the deified ‘Animus.’
But Marvel/Disney is not at all interested in healing a mass-trauma; their big-business agenda is supposedly about empowering women, by transforming iconic male characters into females, such as Thor being transformed into Lady Thor. This doesn’t make sense at all, since the success of the male characters is primarily due to the adoration of a heterosexual female audience in particular, which is especially the case concerning Thor.
A practitioner of sorcery, who has an interest in the four elemental colour comics of his present age to thence transform into grimoires listing superheroine Succubae, could utilise the archetype of a Lady Thor as a politically incorrect Succubus aspect of the ‘Fallen Anima,’ to conjure amidst his erotic lucid dreams.
But first, like many another spirit listed within a grimoire, a sorcerer has to determine what type of powers and abilities a sexy Lady Thor could bestow upon him, when she sexually empowers his assumed guise of a lucid dream Thor Avatar.
Lady Thor, will enable the conjurer to be is incredibly long-lived, who will relate that his nigh ageless state is due to the golden apple of Idunn. The golden apple of Idunn symbolically represents the pineal gland. However, Lady Thor will indicate to her conjurer that his pineal gland is being calcified by sodium fluoride intake.
Whereby aging him, which is being subversively employed by the minions of the New-World-Order Kingdom of a Big-Brother ‘Animus’ God, who have mass medicated the water supply with a known sedative, neurotoxin and a mutagenic compound, in order to stem population growth. Whereupon sperm counts have drastically dipped in the industrialised West. Apart from chemical means being used, psychological warfare is also utilised, which mainly zaps the Anima, residing within the sedated heterosexual male psyche.
Being a daughter of Odin and the elder goddess Gaea, she is physically the strongest of the Asgardians who will protect the conjurer against all harm meted out by the ‘Animus’ cultists. If her conjurer is hard pressed into battle, Lady Thor will induce a state known as the ‘Warrior’s Madness’ (“berserkergang” in Norwegian).
This Aminita Muscaria altered state of mind will temporarily increase his strength and stamina tenfold, although in this state he might attack the brainwashed flocks, let alone an Orwellian Big-Brother alike.
Lady Thor will enable her conjurer to have a very high resistance to physical injury, which approaches invulnerability, should he be beaten up by the police, while Anti-War protesting against the Military Industrial Complex. She will also bestow the ability of possessing keen senses, which will allow her conjurer to remote-view objects travelling faster than the speed of light, and to listen into the Oily Bohemian Grove secrets from the other side of the planet of clairaudience.
Lady Thor will bestow the remote viewing ability to travel through time, as well as increasing the stamina of her conjurer to fuck an entire Frost Giant army of Fifty Shades Of Grey Troll women for nine months, without having any sustenance or rest; suffice to say, such an ability would turn on a Whoopi Goldberg orgasmic style!
Lady Thor can also regenerate wounded portions of the conjurers body, including entire limbs or organs via arousing the Kundalini Shakti ‘Lightning Snake’ within him, via the meditation aid of Mjolnir; whereupon he will avoid being dumped in an old peoples home, reading Amazon’s how to do it books.
Lady Thor has superhuman speed, agility, and reflexes, which will enable her to deflect the psychic-warfare curses of the ‘Animus’ cultists away from the conjurer by using her hammer. She will enable the conjurer to have immunity to all biological warfare diseases and other malign mind-control influences via her most loving influence.
As a Norse Succubus archetype of the Fallen Anima representing the power of thunder, Lady Thor can summon the elements of the storm (lightning; rain; wind; snow) and uses Mjolnir as a tool to focus this ability; whereas the US military utilise HAARP to do likewise.
She can cause these weather effects over the whole world and destroy the conjurer’s enemies wherever they are; that, or influencing the electromagnetic field of their fluoridated brains.
By whirling her hammer she can lift entire buildings within a whirlwind, turning them into dust, to fall in their own footprint as if they have been struck by Tesla’s death ray; in fact, they are not too dissimilar to each other.
As the daughter of the Earth Goddess Gaea, Lady Thor also has some control over the Earth, who can create earthquakes, which HAARP has also replicated. Although, when it cums to crotch quakes at comic conventions, Lady Thor rules!
Lady Thor will instruct the conjurer via vivid erotic dreams in psychic combat; whereupon he will excel in the use of the war hammer of spirit, sword of intellect, axe of emotion and mace of body, against the whoring puppet politicians of the Military Industrial Complex.
Lady Thor possesses two items, which assists the conjurer in psychic combat against psychological warfare: the enchanted Jormungand Belt of Ouroboros Strength, and her signature weapon, the mystical hammer, Mjolnir.
The first item doubles the strength and endurance of Lady Thor’s conjurer, because her belt enables him to remember of eternal recurrence; should the conjurer forget, history invariably repeats its self.
While the second is used to control weather abilities, flight, energy projection and absorption, dimensional travel, as well as matter manipulation, along with the most powerful of her bestowed abilities, the Goddess Blast of bright white light phenomena, which cleanses all Karma.
Lady Thor’s conjurer can conjure her from out of his grimoire comic to do an errand for him, such as finding out what the forever warring Military Industrial Complex is up to on the other side of the globe.
Or even to remote view the colonised planets of the Secret Space Program, whereupon she uses Mjolnir to do so.
This is achieved by throwing Mjolnir in the desired direction and then holding on to the handle’s leather noose of a lemniscate loop, whereby enabling Lady Thor to fly at supersonic speeds within the Earth’s chem-trail polluted atmosphere or to travel faster than light, by browsing expanding space.
When Lady Thor has to transport her conjurer to a destination by herself, she has a chariot of a quantum computing Mitochondria starship.
Her starship is accessed via her two horned Goat priestesses at the point of hypnagogic trance called Toothgnasher and Toothgrinder. These two Goat priestesses will test him as he enters Lady Thor’s inner womb of an astral starship, out of Area 51 Dreamland.
When Lady Thor’s conjurer consciously accesses her trance chariot, she is then enabled to teleport him, wherever he desires to go, almost as easily as with Mjolnir. She can throw a totalitarian/fascist ingrate out of Earth’s atmosphere using her poltergeist strength, and throw her hammer to crown Chakra Asgard from which it will return.
In other words she is a hot politically incorrect Succubus superheroine to conjure amidst your Triangle Of Comic Art Imagination, who will protect you against the endless tirades of the Hollow-Wood Thought-Police.
However, this will require you being dressed up in your cosplay outfit as Thor, because only Thor can handle a synchronistic meeting with a Soul-Mate mead drinking Lady Thor at a ritualistic comic convention, otherwise she will most assuredly drink you under the altar table.
NOTE:The above was in part written tongue in cheek, sometime before Marvel’s lady Thor was published, and since updated. But now to a more serious side. There is an intriguing painting, painted by Raja Ravi Varma (1848-1906) depicting the Hindu deity called Ganesh who is surrounded by Eight Goddesses, who are personified Siddhis.
The Siddhis are spiritual, paranormal, supernatural, or otherwise magical powers, abilities, and attainments, which are the products of spiritual advancement through Sādhanās such as Meditation and Yoga. The term Rddhi (Pali: Iddhi, “psychic powers”) is often used interchangeably in Buddhism.
One of the Siddhis is the ability to expand your body to an infinitely large size. This does not mean the physical body, but otherwise that of the dream body, when accessing a lucid dream. This particular Siddhi can be attained by assuming the Avatar of Thor within a lucid dream, when ‘meditating’ upon the Mjolnir symbol of Thor’s Hammer, or that of the third (Thurisaz) Rune.
In this case the Hammer/Rune Siddhi is personified as a (Goddess/Succubus) Valkyrie, whose conjured manifestation within a lucid dream, enables the conjuring dreamer to attain the inner experience of becoming like that of a giant, to thence stride over the clouds as if it is land. I am not talking about you assuming the guise of Marvel’s gaudy Thor here. This is something quite other, which is an exhilarating experience to say the least.
In Hinduism Thor would be equated with Indra. In the Vedas, Indra is the king of Svarga (Heaven) and the Devas. He is the god of lightning, thunder, storms, rains and river flows. Indra is the most referred to deity in the Rigveda. He is celebrated for his (Siddhi) powers, and the one who destroys the great symbolic evil named Vritra who obstructs human prosperity and happiness. The guise of Indra would be (hypnagogic trance) assumed as an Avatar when attaining a lucid dream by Yogins and shamans.
As for the symbol of the Swastika, it is considered as being sacred by Hindu’s and Buddhists as well as numerous other peoples, just as it was once seen to be sacred by the pagan ancestors of the European’s. In Hinduism the left-hand counterclockwise spinning Swastika is seen to be associated with the Moon, whereas the right-handed clockwise spinning Swastika is associated with the Sun. Both of these Swastikas correspond with the left and right nerve channels of the Autonomic Nervous System running alongside of your spine, which are called the Ida and Pingala.
When the two Swastikas overlap, you then have a wheel having eight (Siddhi) spokes, which is associated with the central nerve channel of the spine called the Sushumna, belonging to the Central Nervous System. The Yogic trick is to bring the two Ida and Pingala nerve channels into overlapping balance via in depth meditation, which then enables the practitioner to attain hypnagogic trance as well as conscious ingress into an attained lucid dream.
The utilised symbolism of the Moon and Sun is commonly seen to represent the female and male principles, many a researcher uses, without ever considering that in the far Northern countries of Europe and across the steppe unto Siberia, the symbolism of the Sun and Moon Swastikas are reversed. This is due to the climate of the far North. For example, the Germanic tribes associated the counterclockwise Swastika of the Moon (Mani) with the male principle, whereas the clockwise Swastika of the Sun (Sunna) represents the female principle.
When lucid within the dream, the (bio-photon) light quality of the dream is associated with an inner Sun, which is termed as being the ‘Sun behind the Sun,’ or otherwise called the ‘Black Sun.’
AFTERWORD:The continuing corporate made damage to the environment, which has led to a series of extinction events among plants, insects, etc, will invariably lead to ecological collapse. Said corporations are mainly of the Oil industry, who utilise the Military Industrial Complex as its ‘Endless War’ muscle. You also have the global roll-out of 5G, which will also adversely affect the environment, going by various scientific studies, which have been promptly ignored by the greedy corporations.
There is the distinct possibility that the corporate horrors and the A.I. automation of the workplace, along with the ensuing loss of jobs, which in the main affects the male population, leaves the women feeling very insecure about themselves and for the future of their children. But then, women, in general, are intutively closer to natures rhythms, who will collectively feel that something is very much amiss. This invariably leads to their anger being meted out upon the men, who have been disempowered and let down by the psychopathic greedy few on purpose, whom run the establishment.
The women then seek to become empowered, which invariably leads to their ‘Animus’ archetypes being transformed into masculine women, since they subconsciously see the males being unable to attain their allotted role-models.
This also leads to the ‘Anima’ archetypes being transformed into butch females in the mass-media. The transformation of the ‘Animus’ and ‘Anima’ archetypes featured in films and on TV, etc, reveals that it was always the women who have called the audience shots concerning the mass-media.
However, the supposed female empowerment, will eventually fragment under the reality that the systematic destruction of nature and the rapid automation of the workplace also affects women.
This underlying social change has been subversively hijacked by those having a political agenda, who are utilising the age old subversive PsyOp technique of dividing and conquering the masses by weaponising minorities, which then makes the minorities a target; this is being done in order to distract public attention away from protesting about very costly destructive wars.
These wars, whether they be that of weaponised sanctions, or that of Petrodollar bombs being dropped all over the Middle East due to an oily pipeline, and elsewhere, along with utilising known terrorist groups in proxy wars, etc, obviously leads to the mass migrations of peoples, fleeing into other lands. Yet there are hardly any protests against these wars, the controlled mass-media pushes since 9/11, which afflicts the whole world.
The Dr. Evil few whom profit from endless Oil wars, are also fleecing the fleeing populace of war torn lands, who are in turn automating the workplace, let alone raping nature.
This isn’t to say that the automation of the workplace is necessarily negative, it is just that the establishment appears to be not considering its social impact upon the populace, nor making any plans as to how to positively deal with an out of work workforce, unless the corporate few are planning population reduction, via an engineered ecological disaster, a biological weapon tick born plague or a false-flag Oily world war III. Hopefully not!
Although the PsyOp engineered conflict between the sexes, which leads to women and men going their own way, can be construed as being population control.
One could conjecture that the women’s assumption of the male role, is of similarity to a ribald Jewish woman getting angry at her muscle bound Nordic husband called Thor, who has been given the boot by automated Amazon.
Shekel eating Amazon now has A.I. driven trucks and drones delivering goods from Jeff Bezos’s automated warehouses. Thor had been employed as a trucker, who now drunkenly slouches on a couch, while Ragnorok approaches.
After screaming at him to do something, otherwise she is going to leave him for a butch gender-bender Valkyrie to shack up with, his Jewish wife, having the physique of a ballerina, ends up lifting her husband’s Norse weightlifter hammer.
This of course gets Thor to emotively react, and storm around the house, thunderously roaring, “I’m the Man, around here!” She to reply, “prove it, and rise up against what is occurring.”
Those who Banshee scream that I should also involve politically correct pronouns, etc, my answer is, I am not into speaking the Orwellian Newspeak of the corporate owned establishment, which is pushing for Endless War.
Alas, all men and women across the globe have to unite in this fight, before Ragnarok, in whatever form it takes, becomes an Endgame reality.
FAUSTUS CROW 