Larloch: The Madman Isane: Humor or Jokes as Cosmology. Joke or Joca
Life can be viewed as one big joke made up of a series of jokes. The material of the Universe being Joke or Joca.
Nothing or what is like Nothing is excluded from this. It is not made of Joca or anything, but makes Joca.
Joca has many dimensions but it means both trick and something which causes one to react by viewing the strangeness or error or silliness involved.
The mystic sound was not Om, the sound of one who a Joke is being played on, thus the sound attributed to the whole buzzing of the Universe, but rather Ha, an exhale of air or spirit, of exertion.
Hahahahaha.
Each moment or experience can said to be a Ha. It isn't one long Ha but a Ha as in laughter which has another Ha and any Ha of the Has can be taken individually and in place of another Ha though they are all Has. Hahahaha which is the word or spirit sent forth, stemming or as part of a joke or the overall joke.
It not being very funny makes it all the more funny, and if we were to really get it, we may never cease laughing, which is to be God or Death.
muse mushy. Sh*t that was my attempt to type we mushy sh*t why does it keep changing musn't to mushy? Oh, could it be because it is a Joke? Well it Can!
Now one who sees with smiling eyes is both happy and unhappy, because we aren't serious, we aren't a big deal, we are just jokes made of jokes in a joke sayings jokes doing jokes and being jokes because jokes and joke is all there is.
If you can look at anything at all and see the humor, and see that even without words it is funny, that even a simple accepted thing is funny for its acceptance or its position or appearance, your heart may be filled with a certain energy, because this thing gives you the pleasure of having a sense of humor or senselessly finding no sense but humor.
One who thinks jokes are not serious or meaningful or are very or only serious or meaningful are being made fools. There are no others but fools.
There is not anything which is not foolish, the sun is a fool, the old man is a fool for sure, and the Power is just plain sadistic and mean, but then again, what else can it do but make Joca?
Can it Not Make Joca? Wouldn't that be funny too?
Wow I shouldn't look at this little Buddhist statue I have, it looked almost like it was moving because of my eyes refocusing. See?
Enlightenment is Lightening Up.
I am never wrong, never.
Bring me a platter of seriousness and watch me sh*t on it.
We forget and then eat our own sh*t. Worse if we remember and do it, or some propaganda saus now it is alright to do that. Why is that worse? Well I find out I made the propaganda too.
What then is the first Joke?
The First Joke was Be or Being.
I Am is the beginning and the whole of the first joke, it makes no sense. You are? You are what? A humorist no doubt. Finish your f*cking sentence!
There is nothing you say which isn't sick or funny. Same goes for the Lord from which all Joca or Humor stems seen and unseen acknowledged and unacknowledged. Crying isn't much different from laughing. A Palestinian half roasted body of a child flying from an explosion apparently has its charm but is an acquired taste.
Now to study these words I have mentioned.
[hr]
http://etymonline.com/index.php?allowed ... earch=Joke
https://en.m.wikipedia.org/wiki/The_Fool_(Tarot_card)
https://en.m.wikipedia.org/wiki/Jest
https://en.m.wikipedia.org/wiki/Trickster
https://en.m.wikipedia.org/wiki/Humour
[hr]
https://en.m.wikipedia.org/wiki/Laughter
https://en.m.wikipedia.org/wiki/Muqatta%CA%BFat
http://www.ancient-hebrew.org/m/alphabe ... s_hey.html
https://en.m.wikipedia.org/wiki/He_(letter)
http://www.walkingkabbalah.com/hebrew-a ... -meanings/
" Hei Meaning – 5th Letter of the Hebrew AlphabetHei represents divine revelation, the breath of the Creator (Psalm 33:6 – By the word of the LORD the heavens were made, and by the breath of his mouth all their host.) The world was created with the utterance of the Hei. It represents the gift of life and creates the verb of being (היה Haya – being). It is divinity, the spiritual life that comes about through the first four letters. It represents the life essence in all creation. It symbolizes the effortlessness of the world and is the symbol of divinity, gentility, and specificity. It contains within it the freedom of choice. Hei is one of the letters of the Holy Name, giving it a special significance within the Aleph-beith. "
[hr]
" The letter Ε(Epsilon), by Code, expresses the sense of Motion-Movement-Course-Expansion and it’s easy to comprehend it, if we consider that when we call somebody from afar, we use it, (Hey… you! Hey Alex…). So, when phonetically using Ε… and sometimes, along with a tense of our hands towards someone, shows the effort of our existence to expand and communicate with the person that is away."
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Honestly, sometimes I even forget this stuff is divine revelation or I think or assume I am just finding stuff and posting it or whatever or it just phases out assome project of mine somehow which I spent hours at and I get a frightening reminder that this whole thing was the theme I was supposed to write on absolutely and a specific message.
I went out to this crazy badly placed stack of books and I wanted one book that was under many but in the process of even considering it ended up pulling out some other called the Pan Opera Book. Opened it up randomly and it said something about how all the players seem to laugh with the orchestra and then opened another page and it said some famous quote or something The Vocation of Man is to Jest. Then I shut the book, and I thought oh I should find the page, then I opened the book and there was a bookmark receipt thing, then I didn't know where it was but it whispered in my head kind of that it, like always, will be easily found even though I don't know where at all it is, and It opened it and found that same laughter thing and then saw the other quote which was seperated by pages and placed the bookmark receipt thing there but was humorously filled with awe and dread as always by the frightening reminder that this stuff about jokes was today's mission.
Diirinka
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kFoyauextlH
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Diirinka
Last edited by kFoyauextlH on Sun Oct 12, 2025 11:47 am, edited 4 times in total.
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kFoyauextlH
- Posts: 1429
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Re: The Madman Isane: Humor or Jokes as Cosmology. Joke or Joca
https://en.m.wikipedia.org/wiki/Alastor ... f_Solitude
"
Alastor, or The Spirit of Solitude is a poem by Percy Bysshe Shelley, written from 10 September to 14 December in 1815 in Bishopsgate, near Windsor Great Park and first published in 1816. The poem was without a title when Shelley passed it along to his contemporary and friend Thomas Love Peacock. The poem is 720 lines long. It is considered to be one of the first of Shelley's major poems.
Peacock suggested the name Alastor, which comes from Roman mythology. Peacock has defined Alastor as "evil genius". The name does not refer to the hero or Poet of the poem, however, but instead to the spirit who divinely animates the Poet's imagination.
In Alastor the speaker ostensibly recounts the life of a Poet who zealously pursues the most obscure part of nature in search of "strange truths in undiscovered lands", journeying to the Caucasus Mountains ("the ethereal cliffs of Caucasus"), Persia, "Arabie", Cashmire, and "the wild Carmanian waste". The Poet rejects an "Arab maiden" in his search for an idealised embodiment of a woman. As the Poet wanders one night, he dreams of a "veiled maid". This veiled vision brings with her an intimation of the supernatural world that lies beyond nature. This dream vision serves as a mediator between the natural and supernatural domains by being both spirit and an element of human love. As the Poet attempts to unite with the spirit, night's blackness swallows the vision and severs his dreamy link to the supernatural.
Once touched by the maddening hand of the supernatural, the Poet restlessly searches for a reconciliation with his lost vision. Though his imagination craves a reunion with the infinite, it too is ultimately anchored to the perceptions of the natural world.
Ruminating on thoughts of death as the possible next step beyond dream to the supernatural world he tasted, the Poet notices a small boat ("little shallop") floating down a nearby river. Passively, he sits in the boat furiously being driven down the river by a smooth wave. Deeper and deeper into the very source of the natural world he rushes. Like the water's surface supports the boat, the supernatural world "cradles" the mutability both of nature and of man.
As his senses are literally dulled, his imagination helps him sense the spirit's supernatural presence. Instead of perceiving the vision through the senses, the Poet imaginatively observes her in the dying images of the passing objects of nature. The boat flows onward to an "immeasurable void" and the Poet finds himself ready to sink into the supernatural world and break through the threshold into death.
When the Poet reaches the "obscurest chasm," his last sight is of the moon. As that image fades from the Poet's mind, he has finally attained transcendence to the supernatural world. The journey to the very source of nature led, finally, to an immanence within nature's very structure and to a world free of decay and change.
The poem was attacked by contemporary critics for its "obscurity". In a review in The Monthly Review for April 1816, the critic wrote: "We must candidly own that these poems are beyond our comprehension; and we did not obtain a clue to their sublime obscurity, till an address to Mr. Wordsworth explained in what school the author had formed his taste." In the Eclectic Review for October 1816, Josiah Condor wrote:
We fear that not even this commentary [Shelley's Preface], will enable ordinary readers to decipher the import of the greater part of Mr. Shelley's allegory. All is wild and specious, intangible and incoherent as a dream. We should be utterly at a loss to convey any distinct idea of the plan or purpose of the poem.
In The British Critic for May 1816, the reviewer dismissed the work as "the madness of a poetic mind."
Mary Shelley, in her note on the work, wrote: "None of Shelley's poems is more characteristic than this." In the spring of 1815, Shelley had been erroneously diagnosed as suffering from consumption. Shelley suffered from spasms and there were abscesses in his lungs. He made a full recovery but the shock of imminent death is reflected in the work. Mary Shelley noted that the work "was the outpouring of his own emotions, embodied in the purest form he could conceive, painted in the ideal hues which his brilliant imagination inspired, and softened by the recent anticipation of death."
In his biography of John Keats, Sidney Colvin wrote on the influence of Alastor on Keats' Endymion: "It is certain that Keats read and was impressed by Alastor."
Alastor influenced the poetry of William Butler Yeats, whose own work The Wanderings of Oisin was influenced by the Shelley poem.
"
"
Another is Robert Southey, whom Shelley had much admired and whose Thalaba the Destroyer, a favourite poem of Shelley's, prefigures Alastor in imagery and quest-narrative. Shelley sent a copy of the book to Southey.
Similarities in imagery to Samuel Taylor Coleridge's Kubla Khan have been noted but Shelley is unlikely to have read that poem, still unpublished at the time of Alastor's composition. The similarities might be explained by those between Thalaba and Kubla Khan, each of which was partly composed while Southey and Coleridge were in close contact.
"
https://en.m.wikipedia.org/wiki/Thalaba_the_Destroyer
https://en.m.wikipedia.org/wiki/Kubla_Khan
https://rpo.library.utoronto.ca/content ... t-solitude
https://www.gutenberg.org/files/39804/39804-h/39804-h
https://www.poetryfoundation.org/poems/43991/kubla-khan
https://kublakhancompleted.in/
https://forgottenrealms.fandom.com/wiki/Far_Realm
"
The Far Realm was a plane of madness situated very far from the planes of the standard cosmology.[4] This maddening realm was feared for its power to twist unfortunate visitors into gruesome monsters, and it was from here that aberrations came.[5] According to Malyanna, a servant of the Abolethic Sovereignty, all cosmologies were threatened by the same Far Realm.[6]
"
https://forgottenrealms.fandom.com/wiki ... overeignty
"
The main goal of the Abolethic Sovereignty was to unlock the Far Manifold with the Key of Stars and open the gate to the Far Realm to unleash their masters onto the world.[2] They were also greatly interested in the Spellplague, and searched and studied active plaguelands across Faerûn.[3] They also wanted to control the power of the primordial Maegera the Inferno, and created the dreaded Symphony of Madness to that end. The aboleths kidnapped many living creatures for their ambitious experiments to improve the Symphony of Madness.[4]
Xxiphu was a mobile city, and that allowed the Abolethic Sovereignty to operate throughout all Faerûn.[3] However, they focused their efforts on the region of Sea of Fallen Stars near Akanûl,[5] and in the Underdark below Neverwinter.[3] They also held total control over the city of Olleth.[6]
"
https://forgottenrealms.fandom.com/wiki ... of_Madness
"
The Symphony was created by the Choir, a group of plaguechanged creatures that sang a telepathic tune that could be heard at any point between Neverwinter, Helm's Hold, and Gauntlgrym. The song was powered by the Spellplague energies the aboleths harnessed from the Cauldron of Blue Fire. Therefore, those creatures chosen to be part of the Choir were subjected to a series of increasingly traumatic tests to determine their aptitude to "sing" in the Choir, and eventually were warped by the Spellplague energies into something unrecognizable.[1]
The song of the Choir was, in essence, a beam of focused Spellplague energy that could twist stone or flesh depending on subtle variations in the Choir's harmony, warping reality in ways that made sense only to an aberrant mind. By using the Hex Locus, the Sovereignty could enhance the Symphony's range, to reach places far away from the normal range of the Symphony.[2]
Those who "heard" the Symphony would suffer horrible nightmares. The only way to avoid having nightmares within the Symphony's range was to sleep near a dreamthief doll. Excessive exposure to the Symphony could turn creatures into spellscarred or even into plaguechanged beings. If focused against a creature or group of creatures, the Symphony could corrupt and twist the mind of the targets, turning them into thralls of the Sovereignty, puppets whose only purpose was to serve their masters to the best of their abilities, or even turn the most unfortunate targets into foulspawn if the corruption went too far.[1]
"
https://forgottenrealms.fandom.com/wiki/Spellscar
Added in 14 hours 42 minutes 35 seconds:
Wtf, this unknown nobody is illustrating huge books with so many pages of full quality art regularly, this is totally insane, like they are on some kind of stimulant or something.
"Artyz" like "Artis".
The guy supposedly has such low self esteem and a low opinion of his art, so spends days filling books with stuff he supposedly doesn't like? Hahaha.
I'm the opposite, and have amounted to just as much without expending even a fraction of the energy they must have.
They said they listened to this a lot:
The word "Murder" gets associated with "Art" a lot, also in the recent Baldur's Gate 3 game's character Orin The Red.
"
@PricelessDamnationV2
1 year ago
If I had a nickel for every time Maggie Robertson voiced a character who said she'd cut someone to ribbons I'd have two nickels, which isn't a lot but it's weird that it happened twice.
"
"
Alastor, or The Spirit of Solitude is a poem by Percy Bysshe Shelley, written from 10 September to 14 December in 1815 in Bishopsgate, near Windsor Great Park and first published in 1816. The poem was without a title when Shelley passed it along to his contemporary and friend Thomas Love Peacock. The poem is 720 lines long. It is considered to be one of the first of Shelley's major poems.
Peacock suggested the name Alastor, which comes from Roman mythology. Peacock has defined Alastor as "evil genius". The name does not refer to the hero or Poet of the poem, however, but instead to the spirit who divinely animates the Poet's imagination.
In Alastor the speaker ostensibly recounts the life of a Poet who zealously pursues the most obscure part of nature in search of "strange truths in undiscovered lands", journeying to the Caucasus Mountains ("the ethereal cliffs of Caucasus"), Persia, "Arabie", Cashmire, and "the wild Carmanian waste". The Poet rejects an "Arab maiden" in his search for an idealised embodiment of a woman. As the Poet wanders one night, he dreams of a "veiled maid". This veiled vision brings with her an intimation of the supernatural world that lies beyond nature. This dream vision serves as a mediator between the natural and supernatural domains by being both spirit and an element of human love. As the Poet attempts to unite with the spirit, night's blackness swallows the vision and severs his dreamy link to the supernatural.
Once touched by the maddening hand of the supernatural, the Poet restlessly searches for a reconciliation with his lost vision. Though his imagination craves a reunion with the infinite, it too is ultimately anchored to the perceptions of the natural world.
Ruminating on thoughts of death as the possible next step beyond dream to the supernatural world he tasted, the Poet notices a small boat ("little shallop") floating down a nearby river. Passively, he sits in the boat furiously being driven down the river by a smooth wave. Deeper and deeper into the very source of the natural world he rushes. Like the water's surface supports the boat, the supernatural world "cradles" the mutability both of nature and of man.
As his senses are literally dulled, his imagination helps him sense the spirit's supernatural presence. Instead of perceiving the vision through the senses, the Poet imaginatively observes her in the dying images of the passing objects of nature. The boat flows onward to an "immeasurable void" and the Poet finds himself ready to sink into the supernatural world and break through the threshold into death.
When the Poet reaches the "obscurest chasm," his last sight is of the moon. As that image fades from the Poet's mind, he has finally attained transcendence to the supernatural world. The journey to the very source of nature led, finally, to an immanence within nature's very structure and to a world free of decay and change.
The poem was attacked by contemporary critics for its "obscurity". In a review in The Monthly Review for April 1816, the critic wrote: "We must candidly own that these poems are beyond our comprehension; and we did not obtain a clue to their sublime obscurity, till an address to Mr. Wordsworth explained in what school the author had formed his taste." In the Eclectic Review for October 1816, Josiah Condor wrote:
We fear that not even this commentary [Shelley's Preface], will enable ordinary readers to decipher the import of the greater part of Mr. Shelley's allegory. All is wild and specious, intangible and incoherent as a dream. We should be utterly at a loss to convey any distinct idea of the plan or purpose of the poem.
In The British Critic for May 1816, the reviewer dismissed the work as "the madness of a poetic mind."
Mary Shelley, in her note on the work, wrote: "None of Shelley's poems is more characteristic than this." In the spring of 1815, Shelley had been erroneously diagnosed as suffering from consumption. Shelley suffered from spasms and there were abscesses in his lungs. He made a full recovery but the shock of imminent death is reflected in the work. Mary Shelley noted that the work "was the outpouring of his own emotions, embodied in the purest form he could conceive, painted in the ideal hues which his brilliant imagination inspired, and softened by the recent anticipation of death."
In his biography of John Keats, Sidney Colvin wrote on the influence of Alastor on Keats' Endymion: "It is certain that Keats read and was impressed by Alastor."
Alastor influenced the poetry of William Butler Yeats, whose own work The Wanderings of Oisin was influenced by the Shelley poem.
"
"
Another is Robert Southey, whom Shelley had much admired and whose Thalaba the Destroyer, a favourite poem of Shelley's, prefigures Alastor in imagery and quest-narrative. Shelley sent a copy of the book to Southey.
Similarities in imagery to Samuel Taylor Coleridge's Kubla Khan have been noted but Shelley is unlikely to have read that poem, still unpublished at the time of Alastor's composition. The similarities might be explained by those between Thalaba and Kubla Khan, each of which was partly composed while Southey and Coleridge were in close contact.
"
https://en.m.wikipedia.org/wiki/Thalaba_the_Destroyer
https://en.m.wikipedia.org/wiki/Kubla_Khan
https://rpo.library.utoronto.ca/content ... t-solitude
https://www.gutenberg.org/files/39804/39804-h/39804-h
https://www.poetryfoundation.org/poems/43991/kubla-khan
https://kublakhancompleted.in/
https://forgottenrealms.fandom.com/wiki/Far_Realm
"
The Far Realm was a plane of madness situated very far from the planes of the standard cosmology.[4] This maddening realm was feared for its power to twist unfortunate visitors into gruesome monsters, and it was from here that aberrations came.[5] According to Malyanna, a servant of the Abolethic Sovereignty, all cosmologies were threatened by the same Far Realm.[6]
"
https://forgottenrealms.fandom.com/wiki ... overeignty
"
The main goal of the Abolethic Sovereignty was to unlock the Far Manifold with the Key of Stars and open the gate to the Far Realm to unleash their masters onto the world.[2] They were also greatly interested in the Spellplague, and searched and studied active plaguelands across Faerûn.[3] They also wanted to control the power of the primordial Maegera the Inferno, and created the dreaded Symphony of Madness to that end. The aboleths kidnapped many living creatures for their ambitious experiments to improve the Symphony of Madness.[4]
Xxiphu was a mobile city, and that allowed the Abolethic Sovereignty to operate throughout all Faerûn.[3] However, they focused their efforts on the region of Sea of Fallen Stars near Akanûl,[5] and in the Underdark below Neverwinter.[3] They also held total control over the city of Olleth.[6]
"
https://forgottenrealms.fandom.com/wiki ... of_Madness
"
The Symphony was created by the Choir, a group of plaguechanged creatures that sang a telepathic tune that could be heard at any point between Neverwinter, Helm's Hold, and Gauntlgrym. The song was powered by the Spellplague energies the aboleths harnessed from the Cauldron of Blue Fire. Therefore, those creatures chosen to be part of the Choir were subjected to a series of increasingly traumatic tests to determine their aptitude to "sing" in the Choir, and eventually were warped by the Spellplague energies into something unrecognizable.[1]
The song of the Choir was, in essence, a beam of focused Spellplague energy that could twist stone or flesh depending on subtle variations in the Choir's harmony, warping reality in ways that made sense only to an aberrant mind. By using the Hex Locus, the Sovereignty could enhance the Symphony's range, to reach places far away from the normal range of the Symphony.[2]
Those who "heard" the Symphony would suffer horrible nightmares. The only way to avoid having nightmares within the Symphony's range was to sleep near a dreamthief doll. Excessive exposure to the Symphony could turn creatures into spellscarred or even into plaguechanged beings. If focused against a creature or group of creatures, the Symphony could corrupt and twist the mind of the targets, turning them into thralls of the Sovereignty, puppets whose only purpose was to serve their masters to the best of their abilities, or even turn the most unfortunate targets into foulspawn if the corruption went too far.[1]
"
https://forgottenrealms.fandom.com/wiki/Spellscar
Added in 14 hours 42 minutes 35 seconds:
Wtf, this unknown nobody is illustrating huge books with so many pages of full quality art regularly, this is totally insane, like they are on some kind of stimulant or something.
"Artyz" like "Artis".
The guy supposedly has such low self esteem and a low opinion of his art, so spends days filling books with stuff he supposedly doesn't like? Hahaha.
I'm the opposite, and have amounted to just as much without expending even a fraction of the energy they must have.
They said they listened to this a lot:
The word "Murder" gets associated with "Art" a lot, also in the recent Baldur's Gate 3 game's character Orin The Red.
"
@PricelessDamnationV2
1 year ago
If I had a nickel for every time Maggie Robertson voiced a character who said she'd cut someone to ribbons I'd have two nickels, which isn't a lot but it's weird that it happened twice.
"
-
kFoyauextlH
- Posts: 1429
- Joined: Sun Jun 15, 2025 3:53 pm
-
kFoyauextlH
- Posts: 1429
- Joined: Sun Jun 15, 2025 3:53 pm
-
kFoyauextlH
- Posts: 1429
- Joined: Sun Jun 15, 2025 3:53 pm
Re: Diirinka
https://en.wikipedia.org/wiki/Richard_Sharpe_Shaver
"
During 1943, Shaver wrote a letter to Amazing Stories magazine. He claimed to have discovered an ancient language he called "Mantong", a sort of Proto-Human language that was the source of all Earthly languages. In Mantong, each sound had a hidden meaning; by applying this formula to any word in any language, one could decode a secret meaning to any word, name or phrase. Editor Ray Palmer applied the Mantong formula to several words, and said he realized Shaver was on to something.
According to Palmer (in his autobiography The Secret World), Palmer wrote back to Shaver, asking how he had learned of Mantong. Shaver responded with an approximately 10,000-word document titled "A Warning to Future Man". Shaver claimed to have worked in a factory where, in 1932, odd things began to occur. As Bruce Lanier Wright notes, Shaver "began to notice that one of the welding guns on his job site, 'by some freak of its coil's field atunements', was allowing him to hear the thoughts of the men working around him. More frighteningly, he then received the telepathic record of a torture session conducted by malevolent entities in caverns deep within the earth." According to Michael Barkun, Shaver offered inconsistent accounts of how he first learned of the hidden cavern world, but that the assembly line story was the "most common version".[7]
Shaver wrote of extremely advanced prehistoric races who had built cavern cities inside the Earth before abandoning Earth for another planet due to damaging radiation from the Sun: an example of a cryptoterrestrial hypothesis. Those ancients also abandoned some of their own offspring here, a minority of whom remained noble and human "Teros", while most degenerated over time into a population of mentally impaired sadists known as "Deros"—short for "detrimental robots". Shaver's "robots" were not mechanical constructs, but were robot-like due to their savage behavior.
These Deros still lived in the cave cities, according to Shaver, kidnapping surface-dwelling people by the thousands for meat or torture. With the sophisticated "ray" machinery that the great ancient races had left behind, they spied on people and projected tormenting thoughts and voices into our minds (reminiscent of schizophrenia's "influencing machines" such as the air loom). Deros could be blamed for nearly all misfortunes, from minor "accidental" injuries or illnesses to airplane crashes and catastrophic natural disasters. Women especially were singled out for brutal treatment, including rape, and Mike Dash notes that "[s]ado-masochism was one of the prominent themes of Shaver's writings".[8] Though generally confined to their caves, Shaver claimed that the Deros sometimes traveled with spaceships or rockets, and had dealings with equally evil extraterrestrial beings. Shaver claimed to possess first-hand knowledge of the Deros and their caves, insisting he had been their prisoner for several years.
Palmer edited and rewrote the manuscript, increasing the total word count to a novella length of 31,000. Palmer insisted that he did not alter the main elements of Shaver's story, but that he only added an exciting plot so the story would not read "like a dull recitation".[7] Retitled "I Remember Lemuria!"; it was published in the March 1945 issue of Amazing.[9] The issue sold out, and generated quite a response: Between 1945 and 1949, many letters arrived attesting to the truth of Shaver's claims (tens of thousands of letters, according to Palmer). The correspondents claimed that they, too, had heard strange voices or encountered denizens of the Hollow Earth. One of the letters to Amazing Stories was from a woman who claimed to have gone into a deep subbasement of a Paris, France building via a secret elevator. After months of rape and other torture, the woman was freed by a benevolent Tero.[10] Another letter claiming involvement with Deros came from Fred Crisman, later to gain notoriety for his role in the Maury Island Incident and the John F. Kennedy assassination. "Shaver Mystery Club" societies were created in several cities. The controversy gained some notice in the mainstream press at the time, including a mention in a 1951 issue of Life magazine.
Palmer claimed that Amazing Stories magazine had a great increase of circulation because of the Shaver Mystery, and the magazine emphasized the Shaver Mystery for several years. Barkun notes that, by any measure, the Shaver Mystery was successful in increasing sales of Amazing Stories. There was disagreement as to the precise increase in circulation, but Barkun notes that reliable sources reflect an increase in monthly circulation from about 135,000 to 185,000.[7]
From 1945 to 1948, Barkun notes that about 75% of the issues of Amazing Stories featured Shaver Mystery content, sometimes to the near-exclusion of any other topic. Historian Mike Dash declares that "Shaver's tales were amongst the wildest ever spun, even in the pages of the pulp science fiction magazines of the period".[8] He also published in Other Worlds magazine; the first issue featured his story "The Fall of Lemuria".
Many science fiction fans felt compelled to condemn the Shaver Mystery as "the Shaver Hoax". These fans, already distressed by Palmer's shift away from the literary or hard science fiction of earlier years to often slapdash space operas, organized letter-writing campaigns to try to persuade the publishers of Amazing Stories to cease all Shaver Mystery articles. In fact, Palmer printed a number of critical or skeptical letters sent to Amazing Stories, and he and other contributors occasionally rebutted or replied to such letters in print. As Bruce Lanier Wright notes, "[t]he young Harlan Ellison, later a famously abrasive writer, allegedly badgered [Palmer] into admitting that the Shaver Mystery was a 'publicity grabber'; when the story came out, Palmer angrily responded that this was hardly the same thing as calling it a hoax".[11] Dash writes that the "critics of the 'Shaver Mystery' were quick to point out that its author was suffering from several of the classic symptoms of paranoid schizophrenia, and that many of the letters pouring into Amazing recounting personal experiences that backed up the author's stories patently came from the sorts of people who would otherwise spend their time claiming that they were being persecuted by invisible voices or their neighbor's dog".[8]
During 1948, Amazing Stories ceased all publication of Shaver's stories. Palmer would later claim the magazine was pressured by sinister outside forces to make the change; science fiction fans would credit their boycott and letter-writing campaigns for the change. The magazine's owners said later that the Shaver Mystery had simply run its course and sales were decreasing.
The Shaver Mystery Clubs had surprising longevity: Representatives of a club discussed the Shaver Mystery on John Nebel's popular radio show several times through the late 1950s. Nebel said he thought the discussion was entertaining, but in extant recordings he was also skeptical about the entire subject.
Even after the pulp magazines lost popularity, Palmer continued promoting the Shaver Mystery to a diminishing audience via the periodical The Hidden World. Lanier describes the magazine as "Shaver in the raw" with little of Palmer's editing. Shaver and his wife produced the Shaver Mystery Magazine irregularly for some years.
"
"
After his brother's death, Shaver was committed to the Ypsilanti State Hospital for mental health disorders by his wife, Sophie. He stayed at the hospital for nearly two years, with periodic visits home to Pennsylvania. During his hospitalization, Sophie was accidentally electrocuted by a space heater in her bathroom. Shaver signed custody of his daughter over to his parents. He was released from hospital, returned to his family's farm in Pennsylvania, and soon left to travel across the Northeastern United States and Canada. Shaver was arrested for stowing away on a merchant vessel in Newfoundland in December 1937, and in early 1938 he was deported from Canada and sent to Grafton State Hospital in Massachusetts. He was transferred to the Ionia State Hospital for the Criminally Insane in Michigan later that year, where he remained for five years. He began writing the year he was discharged, in 1943.[6]
"
https://forgottenrealms.fandom.com/wiki/Derro
https://5e.tools/bestiary/derro-mtf.html
https://forgottenrealms.fandom.com/wiki/Diirinka
https://blog.aulddragon.com/2020/03/dii ... -betrayer/
Maybe watch the films in case these are spoilers, the film is Don't Be Afraid Of The Dark:
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https://en.m.uesp.net/wiki/Lore:Falmer
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https://www.tumblr.com/askmiddlearth/49 ... and-slaves
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https://villains.fandom.com/wiki/Crawlers_(The_Descent)
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During 1943, Shaver wrote a letter to Amazing Stories magazine. He claimed to have discovered an ancient language he called "Mantong", a sort of Proto-Human language that was the source of all Earthly languages. In Mantong, each sound had a hidden meaning; by applying this formula to any word in any language, one could decode a secret meaning to any word, name or phrase. Editor Ray Palmer applied the Mantong formula to several words, and said he realized Shaver was on to something.
According to Palmer (in his autobiography The Secret World), Palmer wrote back to Shaver, asking how he had learned of Mantong. Shaver responded with an approximately 10,000-word document titled "A Warning to Future Man". Shaver claimed to have worked in a factory where, in 1932, odd things began to occur. As Bruce Lanier Wright notes, Shaver "began to notice that one of the welding guns on his job site, 'by some freak of its coil's field atunements', was allowing him to hear the thoughts of the men working around him. More frighteningly, he then received the telepathic record of a torture session conducted by malevolent entities in caverns deep within the earth." According to Michael Barkun, Shaver offered inconsistent accounts of how he first learned of the hidden cavern world, but that the assembly line story was the "most common version".[7]
Shaver wrote of extremely advanced prehistoric races who had built cavern cities inside the Earth before abandoning Earth for another planet due to damaging radiation from the Sun: an example of a cryptoterrestrial hypothesis. Those ancients also abandoned some of their own offspring here, a minority of whom remained noble and human "Teros", while most degenerated over time into a population of mentally impaired sadists known as "Deros"—short for "detrimental robots". Shaver's "robots" were not mechanical constructs, but were robot-like due to their savage behavior.
These Deros still lived in the cave cities, according to Shaver, kidnapping surface-dwelling people by the thousands for meat or torture. With the sophisticated "ray" machinery that the great ancient races had left behind, they spied on people and projected tormenting thoughts and voices into our minds (reminiscent of schizophrenia's "influencing machines" such as the air loom). Deros could be blamed for nearly all misfortunes, from minor "accidental" injuries or illnesses to airplane crashes and catastrophic natural disasters. Women especially were singled out for brutal treatment, including rape, and Mike Dash notes that "[s]ado-masochism was one of the prominent themes of Shaver's writings".[8] Though generally confined to their caves, Shaver claimed that the Deros sometimes traveled with spaceships or rockets, and had dealings with equally evil extraterrestrial beings. Shaver claimed to possess first-hand knowledge of the Deros and their caves, insisting he had been their prisoner for several years.
Palmer edited and rewrote the manuscript, increasing the total word count to a novella length of 31,000. Palmer insisted that he did not alter the main elements of Shaver's story, but that he only added an exciting plot so the story would not read "like a dull recitation".[7] Retitled "I Remember Lemuria!"; it was published in the March 1945 issue of Amazing.[9] The issue sold out, and generated quite a response: Between 1945 and 1949, many letters arrived attesting to the truth of Shaver's claims (tens of thousands of letters, according to Palmer). The correspondents claimed that they, too, had heard strange voices or encountered denizens of the Hollow Earth. One of the letters to Amazing Stories was from a woman who claimed to have gone into a deep subbasement of a Paris, France building via a secret elevator. After months of rape and other torture, the woman was freed by a benevolent Tero.[10] Another letter claiming involvement with Deros came from Fred Crisman, later to gain notoriety for his role in the Maury Island Incident and the John F. Kennedy assassination. "Shaver Mystery Club" societies were created in several cities. The controversy gained some notice in the mainstream press at the time, including a mention in a 1951 issue of Life magazine.
Palmer claimed that Amazing Stories magazine had a great increase of circulation because of the Shaver Mystery, and the magazine emphasized the Shaver Mystery for several years. Barkun notes that, by any measure, the Shaver Mystery was successful in increasing sales of Amazing Stories. There was disagreement as to the precise increase in circulation, but Barkun notes that reliable sources reflect an increase in monthly circulation from about 135,000 to 185,000.[7]
From 1945 to 1948, Barkun notes that about 75% of the issues of Amazing Stories featured Shaver Mystery content, sometimes to the near-exclusion of any other topic. Historian Mike Dash declares that "Shaver's tales were amongst the wildest ever spun, even in the pages of the pulp science fiction magazines of the period".[8] He also published in Other Worlds magazine; the first issue featured his story "The Fall of Lemuria".
Many science fiction fans felt compelled to condemn the Shaver Mystery as "the Shaver Hoax". These fans, already distressed by Palmer's shift away from the literary or hard science fiction of earlier years to often slapdash space operas, organized letter-writing campaigns to try to persuade the publishers of Amazing Stories to cease all Shaver Mystery articles. In fact, Palmer printed a number of critical or skeptical letters sent to Amazing Stories, and he and other contributors occasionally rebutted or replied to such letters in print. As Bruce Lanier Wright notes, "[t]he young Harlan Ellison, later a famously abrasive writer, allegedly badgered [Palmer] into admitting that the Shaver Mystery was a 'publicity grabber'; when the story came out, Palmer angrily responded that this was hardly the same thing as calling it a hoax".[11] Dash writes that the "critics of the 'Shaver Mystery' were quick to point out that its author was suffering from several of the classic symptoms of paranoid schizophrenia, and that many of the letters pouring into Amazing recounting personal experiences that backed up the author's stories patently came from the sorts of people who would otherwise spend their time claiming that they were being persecuted by invisible voices or their neighbor's dog".[8]
During 1948, Amazing Stories ceased all publication of Shaver's stories. Palmer would later claim the magazine was pressured by sinister outside forces to make the change; science fiction fans would credit their boycott and letter-writing campaigns for the change. The magazine's owners said later that the Shaver Mystery had simply run its course and sales were decreasing.
The Shaver Mystery Clubs had surprising longevity: Representatives of a club discussed the Shaver Mystery on John Nebel's popular radio show several times through the late 1950s. Nebel said he thought the discussion was entertaining, but in extant recordings he was also skeptical about the entire subject.
Even after the pulp magazines lost popularity, Palmer continued promoting the Shaver Mystery to a diminishing audience via the periodical The Hidden World. Lanier describes the magazine as "Shaver in the raw" with little of Palmer's editing. Shaver and his wife produced the Shaver Mystery Magazine irregularly for some years.
"
"
After his brother's death, Shaver was committed to the Ypsilanti State Hospital for mental health disorders by his wife, Sophie. He stayed at the hospital for nearly two years, with periodic visits home to Pennsylvania. During his hospitalization, Sophie was accidentally electrocuted by a space heater in her bathroom. Shaver signed custody of his daughter over to his parents. He was released from hospital, returned to his family's farm in Pennsylvania, and soon left to travel across the Northeastern United States and Canada. Shaver was arrested for stowing away on a merchant vessel in Newfoundland in December 1937, and in early 1938 he was deported from Canada and sent to Grafton State Hospital in Massachusetts. He was transferred to the Ionia State Hospital for the Criminally Insane in Michigan later that year, where he remained for five years. He began writing the year he was discharged, in 1943.[6]
"
https://forgottenrealms.fandom.com/wiki/Derro
https://5e.tools/bestiary/derro-mtf.html
https://forgottenrealms.fandom.com/wiki/Diirinka
https://blog.aulddragon.com/2020/03/dii ... -betrayer/
Maybe watch the films in case these are spoilers, the film is Don't Be Afraid Of The Dark:
Added in 1 minute 43 seconds:
https://en.m.uesp.net/wiki/Lore:Falmer
Added in 3 minutes 26 seconds:
https://www.tumblr.com/askmiddlearth/49 ... and-slaves
Added in 2 minutes 33 seconds:
https://villains.fandom.com/wiki/Crawlers_(The_Descent)
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kFoyauextlH
- Posts: 1429
- Joined: Sun Jun 15, 2025 3:53 pm
Re: Diirinka
The stupidity and insanity of this is really disturbing? Mangling images in petty impossible ways to make them into something else entirely:
https://www.decodingthepictishstones.co ... r-Blue.pdf
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People sitting around wasting time trying to force themselves to think unfunny things are funny. That thing, which I only just heard of and saw a little of, is mainly unfunny, depending on the looks of the people, it shows the terrible state of American comedy and seems to feature the horrible comedic lack of talents from Saturday Night Live which is shockingly bad now for the last two decades or do and was never that great either, its really bland. A great comparison of how sucky American comedy can be is the British version of a show called Ghosts which is excellent and the American version which is SO terrible that it leaves one aghast at the degree of difference in quality and intelligence and performance abilities of the actors, the American writers are total sh*t and probably just the insane children of people with connections, Nepo Babies and Z freaks whose brains are utterly fried.
Workaholics is funny, Plebs is great, Man Down, but the state of American comedy especially seems to have tremendously descended, the whole mainstream has become totally unrelatable as it depends on a very exclusive group gatekeeping all the positions to make anything which gets mainstream funding and distribution or reaches people from the places they might be used to.
Even little kids shows in the past were funnier, like what the hell, and these *ssh*les just laugh at themselves, like hoohoo having a great time.
I spend my whole day, for years now, laughing at stuff and finding things funny and making jokes, so what the heck, like how could comedy stray so far as this.
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Seems like a cool movie. Too bad these monsters aren't fictional:
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https://www.decodingthepictishstones.co ... r-Blue.pdf
Added in 3 minutes 32 seconds:
Added in 1 day 11 hours 56 minutes 28 seconds:
Added in 3 days 18 hours 19 minutes 19 seconds:
People sitting around wasting time trying to force themselves to think unfunny things are funny. That thing, which I only just heard of and saw a little of, is mainly unfunny, depending on the looks of the people, it shows the terrible state of American comedy and seems to feature the horrible comedic lack of talents from Saturday Night Live which is shockingly bad now for the last two decades or do and was never that great either, its really bland. A great comparison of how sucky American comedy can be is the British version of a show called Ghosts which is excellent and the American version which is SO terrible that it leaves one aghast at the degree of difference in quality and intelligence and performance abilities of the actors, the American writers are total sh*t and probably just the insane children of people with connections, Nepo Babies and Z freaks whose brains are utterly fried.
Workaholics is funny, Plebs is great, Man Down, but the state of American comedy especially seems to have tremendously descended, the whole mainstream has become totally unrelatable as it depends on a very exclusive group gatekeeping all the positions to make anything which gets mainstream funding and distribution or reaches people from the places they might be used to.
Even little kids shows in the past were funnier, like what the hell, and these *ssh*les just laugh at themselves, like hoohoo having a great time.
I spend my whole day, for years now, laughing at stuff and finding things funny and making jokes, so what the heck, like how could comedy stray so far as this.
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Seems like a cool movie. Too bad these monsters aren't fictional:
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kFoyauextlH
- Posts: 1429
- Joined: Sun Jun 15, 2025 3:53 pm
Re: Diirinka
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This is prank video of two cast members from the Lord Of The Rings Trilogy. People are weirdly looking it up now and seeing it now, even someone said to me that they watched the films over the New Year and I don't know why this Tolkien stuff is coming up so much suddenly.
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kFoyauextlH
- Posts: 1429
- Joined: Sun Jun 15, 2025 3:53 pm
Re: Diirinka
Added in 5 days 20 hours 10 minutes 48 seconds:
https://en.wikipedia.org/wiki/Flann_O%27Brien
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O'Brien's journalistic pseudonym is taken from a character (Myles-na-Coppaleen) in Dion Boucicault's play The Colleen Bawn (itself an adaptation of Gerald Griffin's The Collegians), who is the stereotypical charming Irish rogue. At one point in the play, he sings the ancient anthem of the Irish Brigades on the Continent, the song "An Crúiscín Lán"[31] (hence the name of the column in the Irish Times).
Capall is the Irish word for "horse" (from Vulgar Latin caballus), and "een" (spelled ín in Irish) is a diminutive suffix. The prefix na gCapaillín is the genitive plural in his Ulster Irish dialect (the Standard Irish would be "Myles na gCapaillíní"), so Myles na gCopaleen means "Myles of the Little Horses". Capaillín is also the Irish word for "pony", as in the name of Ireland's most famous and ancient native horse breed, the Connemara pony.
O'Brien himself always insisted on the translation "Myles of the Ponies", saying that he did not see why the principality of the pony should be subjugated to the imperialism of the horse.
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Myles-na-gCopaleen, one of the pen-names of Flann O'Brien, was a master of long shaggy-dog stories, most commonly in his Various Lives of Keats and Chapman stories in his Irish Times column the ''Cruisceann Lawn.'' Almost all the stories would have meandering, painful, often esoteric detail, leading to a meaningless ending to justify a dreadful yet amusing pun or spoonerism, the more excruciating the better. Indeed, the name and characters of the column, based on the poets Keats and Chapman derive from the first such story where John Keats, in addition to his poetical gifts, is somehow reckoned an expert vet, to whom a prize homing pigeon belonging to George Chapman is brought, choking. Keats opens the bird's beak widely, stares down for some seconds, deftly removes a piece of stuck champagne cork from the bird's throat, and health is restored to Chapman's pigeon. Upon which happy event, Keats is moved to write his famous sonnet, "On First Looking into Chapman's Homer" (homer being slang for homing pigeon, as well as the name of the great Greek poet for whom Keats' poem was actually written).[12][13]
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https://en.wikipedia.org/wiki/Confabulation
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Confabulation is a memory error consisting of the production of fabricated, distorted, or misinterpreted memories about oneself or the world. It is generally associated with certain types of brain damage (especially aneurysm in the anterior communicating artery) or a specific subset of dementias.[1] While still an area of ongoing research, the basal forebrain is implicated in the phenomenon of confabulation. People who confabulate present with incorrect memories ranging from subtle inaccuracies to surreal fabrications, and may include confusion or distortion in the temporal framing (timing, sequence or duration) of memories.[2] In general, they are very confident about their recollections, even when challenged with contradictory evidence.[3]
Confabulation occurs when individuals mistakenly recall false information, without intending to deceive. Brain damage, dementia, and anticholinergic toxidrome can cause this distortion. Two types of confabulation exist: provoked and spontaneous, with two distinctions: verbal and behavioral. Verbal statements, false information, and the patient's unawareness of the distortion are all associated with this phenomenon. Personality structure also plays a role in confabulation.
Numerous theories have been developed to explain confabulation. Neuropsychological theories suggest that cognitive dysfunction causes the distortion. Self-identity theories posit that people confabulate to preserve themselves. The temporality theory believes that confabulation occurs when an individual cannot place events properly in time. The monitoring and strategic retrieval account theories argue that confabulation arises when individuals cannot recall memories correctly or monitor them after retrieval. The executive control and fuzzy-trace theories also attempt to explain why confabulation happens.
Confabulation can occur with nervous system injuries or illnesses, including Korsakoff's syndrome, Alzheimer's disease, schizophrenia, and traumatic brain injury. It is believed that the right frontal lobe of the brain is damaged, causing false memories. Children are especially susceptible to forced confabulation as they are highly impressionable. Feedback can increase confidence in false memories. In rare cases, confabulation occurs in ordinary individuals.
Different memory tests, including recognition tasks and free recall tasks, can be used to study confabulation. Treatment depends on the underlying cause of the distortion. Ongoing research aims to develop a standard test battery to discern between different types of confabulations, distinguish delusions from confabulations, understand the role of unconscious processes, and identify pathological and nonpathological confabulations.
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Theories of confabulation range in emphasis. Some theories propose that confabulations represent a way for memory-disabled people to maintain their self-identity.[11] Other theories use neurocognitive links to explain the process of confabulation.[17] Still other theories frame confabulation around the more familiar concept of delusion.[18] Other researchers frame confabulation within the fuzzy-trace theory.[19] Finally, some researchers call for theories that rely less on neurocognitive explanations and more on epistemic accounts.[20]
Neuropsychological theories
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The most popular theories of confabulation come from the field of neuropsychology or cognitive neuroscience.[17] Controlled experimental evidence is, however, scarce.[5] Research suggests that confabulation is associated with dysfunction of cognitive processes that control the retrieval from long-term memory. Frontal lobe damage often disrupts this process, preventing the retrieval of information and the evaluation of its output.[21][22] Furthermore, researchers argue that confabulation is a disorder resulting from failed "reality monitoring/source monitoring" (i.e. deciding whether a memory is based on an actual event or whether it is imagined).[23] Some neuropsychologists suggest that errors in retrieval of information from long-term memory that are made by normal subjects involve different components of control processes than errors made by confabulators.[24] Fantastic confabulations have been attributed to a dysfunction of the Supervisory System,[25] which is believed to be a function of the frontal cortex.
Temporality theory
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Support for the temporality account suggests that confabulations occur when an individual is unable to place events properly in time.[11] Thus, an individual might correctly state an action they performed, but say they did it yesterday, when they did it weeks ago. In the Memory, Consciousness, and Temporality Theory, confabulation occurs because of a deficit in temporal consciousness or awareness.[26]
Monitoring theory
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Along a similar notion are the theories of reality and source monitoring theories.[12] In these theories, confabulation occurs when individuals incorrectly attribute memories as reality, or incorrectly attribute memories to a certain source. Thus, an individual might claim an imagined event happened in reality, or that a friend told him/her about an event he/she actually heard about on television.
Strategic retrieval account theory
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Supporters of the strategic retrieval account suggest that confabulations occur when an individual cannot actively monitor a memory for truthfulness after its retrieval.[12] An individual recalls a memory, but there is some deficit after recall that interferes with the person establishing its falseness.
Executive control theory
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Still others propose that all types of false memories, including confabulation, fit into a general memory and executive function model.[27] In 2007, a framework for confabulation was proposed that stated confabulation is the result of two things: Problems with executive control and problems with evaluation. In the executive control deficit, the incorrect memory is retrieved from the brain. In the evaluative deficit, the memory will be accepted as a truth due to an inability to distinguish a belief from an actual memory.[11]
In the context of delusion theories
edit
Recent models of confabulation have attempted to build upon the link between delusion and confabulation.[18] More recently, a monitoring account for delusion, applied to confabulation, proposed both the inclusion of conscious and unconscious processing. The claim was that by encompassing the notion of both processes, spontaneous versus provoked confabulations could be better explained. In other words, there are two ways to confabulate. One is the unconscious, spontaneous way in which a memory goes through no logical, explanatory processing. The other is the conscious, provoked way in which a memory is recalled intentionally by the individual to explain something confusing or unusual.[28]
Fuzzy-trace theory
edit
Fuzzy-trace theory, or FTT, is a concept more commonly applied to the explanation of judgement decisions.[19] According to this theory, memories are encoded generally (gist), as well as specifically (verbatim). Thus, a confabulation could result from recalling the incorrect verbatim memory or from being able to recall the gist portion, but not the verbatim portion, of a memory.
FTT uses a set of five principles to explain false-memory phenomena. Principle 1 suggests that subjects store verbatim information and gist information parallel to one another. Both forms of storage involve the surface content of an experience. Principle 2 shares factors of retrieval of gist and verbatim traces. Principle 3 is based on dual-opponent processes in false memory. Generally, gist retrieval supports false memory, while verbatim retrieval suppresses it. Developmental variability is the topic of Principle 4. As a child develops into an adult, there is obvious improvement in the acquisition, retention, and retrieval of both verbatim and gist memory. However, during late adulthood, there will be a decline in these abilities. Finally, Principle 5 explains that verbatim and gist processing cause vivid remembering. Fuzzy-trace Theory, governed by these 5 principles, has proved useful in explaining false memory and generating new predictions about it.[29]
Epistemic theory
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However, not all accounts are so embedded in the neurocognitive aspects of confabulation. Some attribute confabulation to epistemic accounts.[20] In 2009, theories underlying the causation and mechanisms for confabulation were criticized for their focus on neural processes, which are somewhat unclear, as well as their emphasis on the negativity of false remembering. Researchers proposed that an epistemic account of confabulation would be more encompassing of both the advantages and disadvantages of the process.
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https://en.wikipedia.org/wiki/Fuzzy-trace_theory
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Fuzzy-trace theory (FTT) is a theory of cognition originally proposed by Valerie F. Reyna and Charles Brainerd[1]
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His name is Brain Nerd for Godsake!
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Turns out, game director Miyazaki did not know English very well when he was young. When he read western fantasy and gaming books, he couldn't understand large portions of them so he had to use his imagination and infer much of the story and lore. That experience of having to gradually decipher a foreign fantasy world was profound and he wanted to bring that approach to Dark Souls. So he created a very detailed story and lore which the game only exposes as little glimpses through item descriptions, NPC conversations, and actual gameplay. He wanted the player to speculate on much of the story and gradually thread together the lore, much like he had to do earlier in his life with understanding western fantasy worlds.
So that's the tidbit - having to decipher English fantasy in his early life had a big impact on how Dark Souls was designed later in his life.
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[deleted]
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12y ago
Interesting to hear how native English speakers react to this. Everyone where I'm from grew up with games in a foreign language (english), and so this is exactly how every game we played was like. We would memorise each step since we couldn't read the instructions in pokemon, or whatever game we were playing. I can assure you that it only made the experience better for us, which is something I feel game developers should remember. The more mysterious and difficult a game is the more intriguing it is in my opinion.
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[deleted]
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12y ago
Absolutely. Beating a story into my skull doesn't make for a better experience.
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[deleted]
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12y ago
Seriously. Just a make a movie.
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migvelio
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12y ago
We would memorise each step since we couldn't read the instructions in pokemon, or whatever game we were playing.
That reminded me that one time in middle school when I played Pokémon Silver all the way to the elite four... on a japanese cartridge. I only understood that certain patterns of strange letters meant some specific thing on the game.
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https://en.wikipedia.org/wiki/Numinous
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Lewis described the numinous experience in The Problem of Pain as follows:
Suppose you were told there was a tiger in the next room: you would know that you were in danger and would probably feel fear. But if you were told "There is a ghost in the next room," and believed it, you would feel, indeed, what is often called fear, but of a different kind. It would not be based on the knowledge of danger, for no one is primarily afraid of what a ghost may do to him, but of the mere fact that it is a ghost. It is "uncanny" rather than dangerous, and the special kind of fear it excites may be called Dread. With the Uncanny one has reached the fringes of the Numinous. Now suppose that you were told simply "There is a mighty spirit in the room," and believed it. Your feelings would then be even less like the mere fear of danger: but the disturbance would be profound. You would feel wonder and a certain shrinking—a sense of inadequacy to cope with such a visitant and of prostration before it—an emotion which might be expressed in Shakespeare's words "Under it my genius is rebuked." This feeling may be described as awe, and the object which excites it as the Numinous.[11]
Jung applied the concept of the numinous to psychology and psychotherapy, arguing it was therapeutic and brought greater self-understanding, and stating that to him religion was about a "careful and scrupulous observation... of the numinosum".[12] The notion of the numinous and the wholly Other were also central to the religious studies of ethnologist Mircea Eliade.[13][14] Mysterium tremendum, another phrase coined by Otto to describe the numinous,[3]: 12–13 [9] is presented by Aldous Huxley in The Doors of Perception in this way:
The literature of religious experience abounds in references to the pains and terrors overwhelming those who have come, too suddenly, face to face with some manifestation of the mysterium tremendum. In theological language, this fear is due to the in-compatibility between man's egotism and the divine purity, between man's self-aggravated separateness and the infinity of God.[15]
In a book-length scholarly treatment of the subject in fantasy literature, Chris Brawley devotes chapters to the concept in "The Rime of the Ancient Mariner" by Samuel Taylor Coleridge, in Phantastes by George Macdonald, in the Chronicles of Narnia by C. S. Lewis, and The Lord of the Rings by J. R. R. Tolkien; and in work by Algernon Blackwood and Ursula Le Guin (e.g., The Centaur and Buffalo Gals, Won't You Come Out Tonight, respectively).[16]
Neuroscientist Christof Koch has described awe from experiences such as entering a cathedral, saying he gets "a feeling of luminosity out of the numinous," though he does not hold the Catholic religious beliefs with which he was raised.[17]
In a 2010 article titled "James Cameron's Cathedral: Avatar Revives the Religious Spectacle" published in the Journal of Religion and Film, academic Craig Detweiler describes how the global blockbuster movie Avatar "traffics in Rudolph Otto’s notion of the numinous, the wholly other that operates beyond reason. [...] As spectacle, Avatar remains virtually critic proof, a trip to Otto’s mysterium tremendum et fascinans."[18] Cameron himself mentioned this in a 2022 interview with BBC Radio 1 when trying to explain the first movie's success, saying "There was that element that I call—borrowing from Carl Sagan—the numinous."[19] Sagan specifically explored the numinous concept in his 1985 novel Contact.[20]
Psychologist Susan Blackmore describes both mystical experiences and psychedelic experiences as numinous.[21] In 2009, Czech psychiatrist Stanislav Grof re-released his 1975 book Realms of the Human Unconscious under the title LSD: Doorway to the Numinous: The Groundbreaking Psychedelic Research into Realms of the Human Unconscious.[22] In his 2018 book How to Change Your Mind, journalist Michael Pollan describes his experience trying the powerful psychedelic substance 5-MeO-DMT, including the following reflection on his experience of ego dissolution:
Here words fail. In truth, there were no flames, no blast, no thermonuclear storm; I'm grasping at metaphor in the hope of forming some stable and shareable concept of what was unfolding in my mind. In the event, there was no coherent thought, just pure and terrible sensation. Only afterward did I wonder if this is what the mystics call the mysterium tremendum—the blinding unendurable mystery (whether of God or some other Ultimate or Absolute) before which humans tremble in awe.[23]
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https://en.wikipedia.org/wiki/Mystical_ ... experience
https://en.wikipedia.org/wiki/Sacred_mysteries
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David Lynch embraced the idea that
unsolved mysteries are beautiful and creatively fertile, believing that providing all the answers "destroys the mystery, this kind of magic quality". He felt a solved mystery is quickly forgotten, while an unsolved one is like a "gift" that inspires thought and ideas.
Lynch's views on mystery informed his filmmaking. He often resisted fully explaining storylines, regretting, for example, being pressured to reveal Laura Palmer's killer in Twin Peaks, feeling it diminished the show's potential. He intended his films to connect with audiences emotionally and subconsciously, seeing life itself as a deep mystery. Lynch believed that a film's meaning is personal and that answers reside within each viewer, encouraging individual interpretation. He prioritized engaging with the unknown over seeking definitive explanations.
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Who remembers a David Lynch interview where he talks about mysteries?
I'm trying to find the clip and he's says something to the effect of mysteries that we can solve we stop thinking about it and leave them alone, whereas the mysteries (ostensibly the ones he finds interesting) are the ones that keep you thinking and guessing and don't resolve themselves. Anybody remember this quote/clip and might know where to find it?
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Looks like they want to solve that mystery.
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u/JHUTCHJ avatar
JHUTCHJ
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2y ago
He says something similar to this in a Rolling Stone interview from 1997:
“You can say that a lot of Lost Highway is internal,” says Lynch. “It’s Fred’s story. It’s not a dream: It’s realistic, though according to Fred’s logic. But I don’t want to say too much. The reason is: I love mysteries. To fall into a mystery and its danger . . . everything becomes so intense in those moments. When most mysteries are solved, I feel tremendously let down. So I want things to feel solved up to a point, but there’s got to be a certain percentage left over to keep the dream going. It’s like at the end of Chinatown: The guy says, ‘Forget it, Jake, it’s Chinatown.’ You understand it, but you don’t understand it, and it keeps that mystery alive. That’s the most beautiful thing.”
https://www.rollingstone.com/music/musi ... oys-62337/
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u/HighFuncMedium avatar
HighFuncMedium
OP •
2y ago
Oooh that might just be it!
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I read several interviews with David Lynch and Mark Frost, where they each give their thoughts on the ending. This was after discussing possible interpretations on here with other Twin Peaks fans - so thank you to those of you who pointed me towards some of those interviews. Here are the main points Lynch and Frost made:
David Lynch (interviews in Cahiers du Cinema, Entertainment Weekly, & The Guardian):
For me, it is very precious that everyone has their own feeling, their own dream about what happened. I don't really want to damage that... It's really beautiful. Maharishi often said: the world is as you are. The world is what it is, like a film is what it is. Every picture is the same. But everyone perceives it in their own way. The world is as you are... There is nothing more beautiful than mystery. I think you make people unhappy by solving all the mysteries. One mystery solved, you forget it and move on to the next one. An unsolved mystery is frustrating, but it's like a gift. It gives birth to ideas, it makes you think, dream... A story has no end... Some things came to a conclusion. And some things dangled out there. And that's sort of the way it is in life. (On whether Richard in part 18 is a different character from the Agent Cooper we've seen previously) You should look at that part again, and you could see it in different ways. I'm not gonna talk about it, though... If there’s 100 people in the audience, you’re going to get 100 different interpretations, especially when things get abstract. It’s beautiful. Everybody’s a detective and whatever they come up with is valid in my mind.
Mark Frost (interviews in Indiewire, Salon, & Reddit):
The idea for that last episode came in very late. The natural rounding off point would have been Cooper braving, and you might even say tempting fate, and trying to go back and erase the original sin of the death of Laura and then you realize there’s a certain amount of hubris involved in an act like that. But when you add in that theme that was so important to the Greeks, ‘Hey buddy don’t presume that you can mess in the gods’ playground.’ You are tempting fate. There are untold consequences that attend every act of hubris, and that’s where we ended up with our ending... I don't want to take you by the hand here and lead you to what it meant. Here's the point to take from it: The actions that Cooper takes have consequences, and they're unforeseen and unanticipated, and they open the door to all other sorts of strange and perhaps enigmatic things taking place... (On whether the finale has a happy ending, completely the opposite, or something in between) Something in between. Like life.
If we combine Lynch and Frost's comments together, then we get something like this:
After Mr C and BOB are defeated, Cooper overreaches himself by trying to undo Laura Palmers murder. In doing so, he sets off strange and unexpected consequences. We are then left with an unsettling and mysterious cliffhanger, where Cooper and Laura's fates are left dangling. The ending is neither "happy" or "sad", and is ultimately up to the interpretation of viewers, because the story has no end. The mystery remains and will continue to make us dream (unless there is a season 4 of course, although I imagine they would still leave the story open at the end).
I personally find their comments satisfying - and it confirms much of what I already assumed. I'm interested to know what others think. I also recommend reading the interviews in full, as there are plenty of other revealing comments about the show as a whole.
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[deleted]
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2y ago
An unsolved mystery is frustrating, but it's like a gift. It gives birth to ideas, it makes you think, dream...
This is what I love about Lynch. He's evoking his viewers' creative ideation . He manages to tell a story where no matter how hard you try to resolve and conclude in your mind, uncertainty and mystery remain strong, and yet it feels like there is a resolution somewhere. It inspires creative thought, for example a few days ago I felt a bit creative and wrote a wild theory
I much prefer to leave it there in terms of knowing what it was officially about and I'm happy with a mystery being unresolved and always leaving space for more discussion and creative thought
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u/ImpactNext1283 avatar
ImpactNext1283
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2y ago
Yeah, and he’s also said the scariest thing is seeing someone frightened and not knowing why. Combining those two ideas, about the power of the unknown, unlocks a lot of his filmography.
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. He manages to tell a story where no matter how hard you try to resolve and conclude in your mind, uncertainty and mystery remain strong, and yet it feels like there is a resolution somewhere. It inspires creative thought, for example a few days ago I felt a bit creative and wrote a wild theory
I much prefer to leave it there in terms of knowing what it was officially about and I'm happy with a mystery being unresolved and always leaving space for more discussion and creative thought
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A sentence without a period is like a person without shoes, it has a similarly unsettling effect.
https://www.reddit.com/answers/aa2f4fd6 ... 682bbe5c1e
https://en.wikipedia.org/wiki/Ideation_ ... e_process)
https://www.theguardian.com/world/1999/feb/09/5
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But it was a family funeral too and one conducted on the lines of British military tradition. A band of pipers played a Scottish military marching tune to lead Hussein's body, now transferred to a 90mm field artillery cannon, to its final resting place in the royal cemetery. Behind him followed Amr, his favourite horse, a white charger whose stirrups were filled with Hussein's empty riding boots, pointing backwards in the old symbol of a fallen leader.
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https://en.wikipedia.org/wiki/Riderless_horse
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A riderless horse is a single horse without a rider and with boots reversed in the stirrups, which sometimes accompanies a funeral procession. The horse, sometimes caparisoned in black, follows the caisson carrying the casket.[1] A riderless horse can also be featured in parades (military, police or civilian) to symbolize either deceased soldiers, police officers or equestrian athletes.[2] A motorcycle can be used as a substitute for a horse.[3][4]
In the United States, the riderless horse is part of funerals with military honors given to Army or Marine Corps officers at the rank of colonel or above, as well as funerals of presidents, who served as commander in chief.[1]
Alexander Hamilton, who was Secretary of the Treasury (1789–1795) was the first American to be given the honor. Historian Ron Chernow noted that Hamilton's gray horse followed the casket "with the boots and spurs of its former rider reversed in the stirrups."[5]
Abraham Lincoln, who was assassinated in 1865, was the first president of the United States to be officially honored by the inclusion of a caparisoned horse in his funeral cortege,[1] although a letter from George Washington's personal secretary recorded the president's horse was part of the president's funeral, carrying his saddle, pistols, and holsters.[6]
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Egyptian radios denounced Hussein as the "Judas of the Arabs".[29]
Smoke rising out of the Jordanian Prime Ministry building after the explosion that killed Prime Minister Hazza' Majali on 29 August 1960.
Hussein would be subjected to several more assassination attempts.[29] One involved replacing his nose drops with strong acid. Another plot was uncovered after a large number of cats were found dead in the royal palace; it emerged that the cook had been trying poisons to use against the king.[29] He was later pardoned and released after Hussein received a plea from the cook's daughter.[29] Assassination attempts against the king subsided after a successful coup toppled the Syrian regime on 28 September 1961 and the UAR collapsed.[29]
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President Nasser of Egypt denounced Hussein as an "imperialist lackey".[36] In a meeting with American officials, Hussein, sometimes with tears in his eyes, said: "The growing split between the East Bank and the West Bank has ruined my dreams," and, "There is near despair in the army and the army no longer has confidence in me."[35]
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https://en.wikipedia.org/wiki/Hussein,_King_of_Hejaz
https://en.wikipedia.org/wiki/Kingdom_of_Iraq
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The role of the United Kingdom in the formal administration of the Kingdom of Iraq was ended in 1932,[1] following the Anglo-Iraqi Treaty (1930). Now officially a fully independent kingdom, officially named the Hashemite Kingdom of Iraq, it underwent a period of turbulence under its Hashemite rulers throughout its entire existence. Establishment of Sunni religious domination in Iraq was followed by Assyrian, Yazidi and Shi'a unrests, which were all brutally suppressed.[citation needed] In 1936, the first military coup took place in the Hashemite Kingdom of Iraq, as Bakr Sidqi succeeded in replacing the acting Prime Minister with his associate. Multiple coups followed in a period of political instability, peaking in 1941.
During the Second World War, the Iraqi government of the Prince-Regent, Prince 'Abd al-Ilah, was overthrown in 1941 by the Golden Square officers, headed by Rashid Ali. The short-lived pro-Nazi government of Iraq was defeated in May 1941 by the Allied forces in the Anglo-Iraqi War.
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https://en.wikipedia.org/wiki/Mandatory_Iraq
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In April 1941, Iraqi nationalists organized the Golden Square coup, with assistance from Nazi Germany and Fascist Italy. The coup ousted Abd al-Ilah and installed al-Gaylani as Prime Minister. He officially established cordial relations with the Axis powers, prompting the Allies to respond. For the Allies, Iraq represented an important land bridge between British forces in Egypt and India.
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Ear-r*pe warning in case the volume is too high:
https://en.wikipedia.org/wiki/Friendship
https://the-dictionary.fandom.com/wiki/Amicable
https://en.wikipedia.org/wiki/Joke
https://en.wikipedia.org/wiki/Laughter
https://en.wikipedia.org/wiki/Gelotology
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Gelotology was first studied by psychiatrists, although some doctors in antiquity recommended laughter as a form of medicine. It was initially deprecated by most other physicians, who doubted that laughter possessed analgesic qualities. One early study that demonstrated the effectiveness of laughter in a clinical setting showed that laughter could help patients with atopic dermatitis respond less to allergens.[3] Other studies have shown that laughter can help alleviate stress and pain, and can assist cardiopulmonary rehabilitation.[4]
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How often do you laugh? How often are you angry or irritated? How often do you feel some sense of pain, physical or emotional?
Out of all the time in a day, how long do you feel stable, bad, or good?
Can the stable consume the whole day, like the unperturbed by anything? Can the happy or laughing or feeling pleasure seem to fill the majority or entirety of the waking day, multiple days, so the vast majority, or all the time? Would it be a mere matter of hoding away or habit development, is it not possible, is it actually potentially harmful to be like that if it were even possible? What are the obstructions?
I amuse myself all day, now often also in various kinds of pain and troubled, while still laughing and generally stable and happy, but I don't like pain or irritations or stresses, but every day seem like a mixture, though I probably am more stimulated, amused, and absorbed in learning and humor without much overall pressure or tension related to anything I'm doing most of the time, only half caring at best, but also thinking of things as spiritual at most. It is a weird and likely uncommon fashion of living and thinking.
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kFoyauextlH
- Posts: 1429
- Joined: Sun Jun 15, 2025 3:53 pm
Re: Diirinka
so actually the horrible typing glitch has suddenly returned and keeps making the google keyboard inbthe phone automatically alternate from capital letters to not, while not letting me type, if anything is typed it is out of order, it also disappears and doesn't pop up again' so I can't even type, and it seems to be connected to the website, since I was able to type all this when I typed it into the address bar area, thst is how I'm typing all this, so somethkng about this keyboard and the website is causing an issue possibly as it doesn't seem to happen rlsewhere, though it eoes run into differebt issues at times, like with Amazon searches qnd stuff, which hide the keyboard and only show options for past sesrches sometimes. anyway, I first clicked the video because of her dark skin and to say that Romans likely looked dimilar to that at times, then thry were describkng the tragedy but it was contrasted by the word "dingo", which is linked to humor for many people and sounds funny too as a word and has likely been part of many jokes, which seems to have complicated the story, which I would hope would have a conclusion more believable to people unfamiliar with Australia, like heart failure, drug overdose, suicide, or murder, as compared to death by a dingo attack, which may be a reasonable assumption for someone familiar with the danger of dingos but otherwise isn't what we outside of Australia are used to ever hearing about in relation to dog-like animals anymore.