Pursuing natural health & thinking beyond the superficial. Deconstructing Culture.

Posts tagged ‘Symbolism’

International Women’s Day

Venus Female Symbol Sky

Picture Credit: iStockphoto

The symbol for ‘female/woman’ stands for ‘Venus’.

Most people don’t realize that Venus is actually represented by a Black woman (even wild rice or Black rice is called Venus).

Reminds me of:

BlackSheba-Conrad Kyeser c. 1405 Prague

BlackSheba-Conrad Kyeser c. 1405 Prague

I have more to say on the subject but I’m too tired, maybe I’ll fill this in at a future date.

Bananarama – Venus (Lyrics)

Goddess on the mountain top
Burning like a silver flame
The summit of beauty and love
And Venus was her name

She’s got it
Yeah, baby, she’s got it
I’m your Venus, I’m your fire
At your desire
Well, I’m your Venus, I’m your fire
At your desire

Her weapons were her crystal eyes
Making every man mad
BLACK AS THE DARK NIGHT SHE WAS
Got what no one else had
Wah!

She’s got it
Yeah, baby, she’s got it
I’m your Venus, I’m your fire
At your desire
Well, I’m your Venus, I’m your fire
At your desire

Venus

She’s got it
Yeah, baby, she’s got it
I’m your Venus, I’m your fire
At your desire
Well, I’m your Venus, I’m your fire
At your desire

Goddess on the mountain top
Burning like a silver flame
The summit of beauty and love
And Venus was her name
Wah!

She’s got it
Yeah, baby, she’s got it
I’m your Venus, I’m your fire
At your desire
Well, I’m your Venus, I’m your fire
At your desire

Venus was her name

Yeah baby she’s got it
Yeah baby she’s got it
Yeah baby she’s got it
Yeah baby she’s got it

Black is beautiful, terrifying and mystifying. The oldest still living (in culture) ‘dark/Black’ Goddess the Earth has: Kali (meaning ‘Black’ and ‘Time’) notice over time she has become Blue and light skinned as part of the incorporation into the later patriarchal post-Vedic Hinduism and the dominance of the male triad (who become the male singular in monotheistic religion).

Kali Maa Black Goddess

The Goddess en:Kali, 1770 Print by Richard B. Godfrey, Indian Art Special Purpose Fund – Wikipedia.

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Making the Unreal Real – Playing Games with Lives – Thieves Who Make Confusion Are Really The Monsters

What if you could engineer a situation where you take a ‘regular Joe/Jane’ or someone slightly ‘different’ and even better ‘alienated’ and turn them into whatever you wanted?

I watched this film when it came out with a friend of mine, it was the last movie we went to see before going our separate ways and I think it was me who chose to watch this one because it had the longest running time but by the end of it we realized we should have chosen a comedy.

Anyway I’m not going to review it but here’s some info from Wiki:

https://en.wikipedia.org/wiki/The_Cell

The Cell is a 2000 American science fiction psychological thriller film and the directorial debut of Tarsem Singh, starring Jennifer Lopez, Vince Vaughn and Vincent D’Onofrio. It received mixed reviews upon its release, with critics praising the visuals, direction, make-up, costumes and D’Onofrio’s performance, but commenting on the Silence of the Lambs-inspired plot, the emphasis on style rather than substance and the somewhat masochistic images.

Plot

Child psychologist Catherine Deane (Jennifer Lopez) is an expert in an experimental treatment for coma patients: a virtual reality device that allows her to enter into the minds of her patients and attempt to coax them into consciousness. When serial killer Carl Rudolph Stargher (Vincent D’Onofrio) falls into a coma before the FBI can locate his final victim, Agent Peter Novak (Vince Vaughn) persuades Deane to enter Stargher’s mind and discover the victim’s location.[1] Stargher’s victim is imprisoned in a cell in the form of a glass enclosure that is slowly filling with water by means of an automatic timer.

Deane enters Stargher’s twisted mind, where she is confronted by both the violent and the innocent parts of the killer’s psyche. The innocent half shows her the abuse he suffered at his father’s hands and the birth of his pathology when he drowned an injured bird as a mercy killing. Deane attempts to nurture the innocent side of Stargher’s mind, but his murderous half thwarts her at every turn.

Despite Deane’s best efforts, she becomes trapped in Stargher’s dark dreamscape. Novak volunteers to enter Stargher’s mind and attempts to rescue Deane. He frees her from Stargher’s hold and discovers clues to the whereabouts of his victim. Novak relates his revelations to his team and they are able to track down the location of Stargher’s victim (Stargher had been entrusted by a company to take care of an advanced water pump, which he used to fill the cell with water). Novak discovers Stargher’s secret underground room and saves Stargher’s victim just in time. Meanwhile, Deane decides to reverse the process and pull Stargher’s mind into her own. She presents Stargher’s innocent side with a paradise, but his murderous side is always present and manifests as a serpent. This time, however, Deane has all the power; she attacks the serpent/Stargher only to discover that she cannot destroy one half without killing the other. Stargher’s innocent side reminds her of the bird he drowned, and she kills him to put him out of his misery. She adopts Stargher’s dog and successfully uses her new technique on her other coma patient (Colton James).

Artistic influences

Some of the scenes in The Cell are inspired by works of art. A scene in which a horse is split into sections by falling glass panels was inspired by the works of British artist Damien Hirst. The film also includes scenes based on the work of other late 20th century artists, including Odd Nerdrum, H. R. Giger and the Brothers Quay. Tarsem—who began his career directing music videos such as En Vogue’s “Hold On” and R.E.M.’s “Losing My Religion”—drew upon such imagery for Stargher’s dream sequences. In particular, he was influenced by videos directed by Mark Romanek, such as “Closer” and “The Perfect Drug” by Nine Inch Nails, “Bedtime Story” by Madonna, and the many videos that Floria Sigismondi directed for Marilyn Manson. During a scene, Jennifer Lopez falls asleep watching a film; the film is Fantastic Planet.

This is not to justify anybody with such behaviours on either side i.e. the mind control/mind raping/soul destroying side of the ‘security surveillance’ nor the violent, inhumane psychopath they just happen to be following in the film – but just how far would ‘people’ would go to make someone into one ‘side’ or the other, why and how they’d get away with it. A bit like the film ‘Inception’ (2010).

Oh and btw looking up ‘cybernetic’, ‘psychotronic whore’, ‘mollusc’, ‘hybrid’, ‘drone’ and a whole load of other crap doesn’t apply to me, especially the ‘Myra Hindley’.

Note – I mentioned Fantastic Planet HERE titled ‘Who/What are the Blue Beings, why are we inspired by them? Although being a US film it could also conveniently be a dig at the former USSR, like the English and the French the ‘feud’ never ends.)

The Cell Jennifer Lopez Movie Film Symbolism

Hell in a cell i.e. invisible yet visible prison.

The Cell Jennifer Lopez Film Movie Symbolism

Her work clothes – one ‘body suit’ which…

The Cell Jennifer Lopez Film Movie Symbolism

… She conveniently changes for another and with a mask whilst in his mind – notice the placement of the lights (sun/star and pillars).

The Cell Jennifer Lopez Film Movie Symbolism

How very similar to the enemy. Looks is one thing, acting like these people (‘good’ or ‘bad’, or the fake ‘light’ or ‘dark’) is another – some people make great game/targets for ‘change’ to players.

The Cell Jennifer Lopez Film Movie Symbolism

He’s a bad bird now that needs killing (apparently mercifully) – and to do so the ‘good’ side go into the mind or as some could call it ‘the astral plane’ to do the job.

The Cell Jennifer Lopez Film Movie Symbolism

So it’s ok for her to play Mother Mary now (as well as the Red ‘whore’/’prostitute’ double meaning but with White for the ‘good’ ‘purity’ side.)

The Cell Jennifer Lopez Film Movie Symbolism

And then the Dark Mother (wannabe) with the Red and Black. (Note that Mary was never a Mother Goddess or even a Goddess.)

The Cell Jennifer Lopez Film Movie Symbolism

Black and White – both extremes, two sides of the same coin, both beautiful; unfortunately here she’s portrayed as a Goddess, even a Warrior Goddess as a rider. Both the violator (the security/watchers) and the violated (here the child was violated and became a violator) are metamorphosed.

The Cell Jennifer Lopez Film Movie Symbolism

Hmm, decide for yourselves.

There is a heck of a lot of symbolism (including religious) in this film which you can see from the pictures and it makes for a very gruesome metaphor, the film is practically a vehicle and anybody wanting to explain or interpret it could have a field day. Again I’m not going to bother right now (maybe later) but basically it shows in a subtle yet obvious way (subtle i.e. artistically and easy to dismiss for those not really looking and hidden in plain sight for those who ‘know’ or think they/we do) both ‘sides’ are one and the same ultimately (so you have to be careful if you’re in the middle and not affiliated lol). Just to point out the use of the serpent and the mercy killing of the bird were streamlined, initially in the film they seemed like ‘good’ and ‘bad’ but ultimately they can and were used together as one thing such as winged serpent beings or Caduceus, or in this case for transformation. An innocent is turned into a villain and taken out by super villains acting as good folk. It’s ironic, Mum and I once shared the same dream on the same night and we both had the same reaction, both involved the killing of an innocent bird and right afterwards three ‘interesting’ networks came along. It’d be more interesting however to look into the ‘history’ of the symbolic so-called cat people [or at least group of] being conquered by a group of serpentine people, I hesitate to call them reptile/reptilian since it’s getting more complicated nowadays with the ‘groupings’.

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The Adolescence of Utena – A Rosicrucian Telling of the Daughter & Mother

On a sidenote – today is the memorial day for Hiroshima, the atomic bombing of Nagasaki.

I was going to try and explain at least some of the symbolism of the rose but there’s so much of it and whilst similar it varies from Order to Order, age to age. Ultimately though it’s like the opposite of the lotus – whereas the Iris/Lily/Lotus signifies knowledge an enlightenment the rose represents (also in its multitude of layers) silence and secrecy regarding knowledge.

It’s easier to use a visual aid and ‘The Adolescence of Utena’ (1999 film) is a very apt one. It’s a summarized version of the anime series (1997) ‘Revolutionary Girl Utena’ (of course based on the manga (1996-7) and it’s one big metaphor. The whole thing, there isn’t anything in it that isn’t symbolism and yet at the same time hidden in plain sight truth. Whereas the longer manga and anime can be seen as ‘coming of age’ stories (and they are exactly for some of us) the film tells it like/as it is. (Bear in mind that adolescence is the activation stage for Goddess grooming, girl becoming physical woman with the sacred blood – Red rose from White rose, Mother from Daughter – at puberty, and puberty is artificially getting younger and younger with pharma-drug-faux-food culture but especially age 15/16, the height of teenage/feminine ‘beauty’. Evil, nasty, psychotic politco-religious bastards.)

There was once an Indian girl called Anthy (Anthony – look up the meaning and origins) and she was conquered by her false brother/the masculine. Her brother was known as ‘the prince’ or the Headmaster’s son (right away you’ve got the school and indeed mystery school symbolism), he wasn’t her real brother but pretended to be – took the title, to have the association. He put her to sleep (made her into a ‘living corpse’) and raped her in that state. The thing is, she wasn’t totally asleep, we don’t even know if she was ever asleep in the way we think it – but more like in a different state of consciousness and that state took her to a different place (like how the ‘traditional’ story of Kali – a root Indian goddess, one if not the oldest still known/living in the world – being pushed into a sexual frenzy and losing herself). With the capture of Anthy things changed.

From thence a Castle of Eternity arose, a mind boggling, twisting, tardis of a school/building/place/’dimension’, before that I’d guess the question of mortality/immortality wasn’t as important. It’s with the wars of the gods and others, the bargaining, the game playing and mixed breeding where it became sought – maybe because the innocence was lost?

The Gate and in this case trap/prison

The [arch] Gate and in this case trap/prison, its shown before the first duel so representative of the outer layer/courtyard, the gate to the other two major sections of the masonic temple/kingdom.

Anyway, the cartoon shows Anthy as already captured and in ‘custody’ of her ‘brother’ (we never see the Head Master), Anthy is now what is called the Rose Bride i.e. a prize in an elite tournament of ‘duelists’ (mostly male competitors but some female) where she has to do the bidding/grant the wishes of any one that ‘wins’, they win her, they think of her as their possession rather than a living being with thoughts and feelings, and they treat her as a sex toy. Which is why when her exhibitionist, popular and well loved/admired/respected ‘brother’ rapes her she doesn’t realize she’s been raped because that’s what she’s used to and is overawed by him when actually he’s the one in awe of her power (and hence desirability) so seeking to possess it even in the most insidious ways.

Totally Rosicrucian

Totally Rosicrucian

When he sees that she wasn’t actually asleep like he’d intended he gets hysterical because he’s been caught out and doesn’t want everybody to find out, he’s already lost his keys (get to that later) and so is subject to mortality/damage/going rusty and now he’s lost his marbles *ahem*. He [nowhere near really] gets what he deserves…

Note: Anthy wears a bindi which traditionally is a sign of marriage but it’s also an unacknowledged sign of the the third eye (hence women’s sindoor is made of toxic chemicals/colours and not the men’s).

Fast forward in time and cue a rose haired (colour – Pink in the day, Rosé at night) girl who has come to the school looking for her long lost prince (by this time duellists who are participating for the title/place of the illusory/dead prince are called princes and some princesses). She’s different though, in this modern age a real Princess is called a Prince (the ‘son’, the male messianic figures etc based on the Daughter) and she’s come to the school dressed as a Prince whilst not claiming to be male. (Like in Wonder Woman.) It takes this secret Princess/Prince to rescue the old India Earth Goddess (Anthy and notice that Anthy & her ‘brother’ are the only Brown skinned characters in the film but he is lighter in bother skin and hair signifying that he is younger) i.e. the Daughter rescuing the Mother. It’s shown as a sensual relationship and most would consider it lesbian/sexual but remember the old Goddesses are sensual, they feel/experience acutely because they are one with nature (can also be thought of as a ‘revelation’/exposing/stripping the false layers) – what it’s showing is that the Daughter & Mother become one again. The Divine Feminine. They even do the ‘dance’ as well, the dance representing time, space, cosmos and which the bastard Shiva has become known for.

Utena Anthy Rose

Interestingly when Utena (the rose princess/Daughter, not the rose bride/Mother) duels she transforms, unlike the other contestants; she gets her hair back and looks more feminine/beautiful. She also has access to the a secret sword/weapon directly from the Mother. Not even the other female contestants do that because they’re not real/original women, they’re a product of the usurper society and playing the game for their own ends. Utena is the only one fighting for Anthy’s sake, wanting to be by her side because of how she is treated and to stop others from hurting her. Initially she also fights with a broom, i.e. the sweeper/cleaner goddess symbolism which has later become associated with monks in a monastery (priest schools, secret, snobby, schools where knowledge is passed on to the ‘worthy’ master-servant style – in that sense the ‘little old man/cleaner’ is always the wisest, and sometimes underestimated with his secret, smug smile – hey I’m not knocking smugness, sometimes it’s necessary…)

Showing that this is linked back to ancient India is the use of vehicles (which I tried to talk about in Momo); it’s kind of awkward to explain but modern vehicles aren’t so modern. If you lookup Vimanas for example you’ll see where the modern/streamlined version of gods/demons flying around on animals comes from. A vimana was a high-tech vehicle to travel in, they weren’t limited to sky travel, they could also be used on land and water; there’s schematics for such vehicles in old scripture (as well as a ton of ‘alien’ – not really alien though, just other beings on this planet – imagey carved in stone and drawn in artwork throughout world culture). They could be called spaceships simply because they traverse space (and water is used in the cartoon to symbolize the barrier/difference between life/death, awake/asleep worlds too) but that doesn’t make them alien as in from another planet necessarily. Basically the duellists change into cars so that they can reach the ‘outside world’, a ‘modern’ version of a horse but unlike a horse or other animal, a car is an exo-skeleton (remember the use of bones in She-Ra), a vessel. A vessel for what? Some say the spirit, others the soul, others the mind, consciousness (remember the spirit and the soul aren’t necessarily the same ‘thing’ either).

Horned and serpentine

Horned and serpentine

When Utena wins the tournament instead of owning Anthy she tries to free her, tries to take her out of the closed/false/crazy world to the ‘outside’ and so she transforms into a car (a super car – note to self: funny how a certain astrologer used a Formula One racing metaphor for me to see recently) and of course the closed world/security/surveillance tries their darnedest to stop them. Interestingly it starts off with a race track where other duellists have transformed and chase them, but they are driverless – they don’t have Anthy – they don’t have the innate power, the spirit nor the soul.

Anthy/Utena face many more obstacles and Utena is worn down badly. We can finally see the whole castle (‘castle in the sky’ which you get in a lot of these hinting stories e.g Laputa) is just a glowing ‘illuminated’ construct, a block between worlds, a distraction and the dead/illusory prince/’brother’/ghost beckons Anthy back “come back and be a living corpse, a living corpse” because that is the only way he can survive even if its only a memory, a ‘title’ that princes dreaming to fulfill his role/place fight over.

Remember the palace/castle from The NeverEnding - Story - the SAME GUY who wrote Momo.

Remember the palace/castle from The NeverEnding – Story – the SAME GUY who wrote Momo.

Needless to say there are false friends a long the way, hidden friends, fairweather friends and unlikely friends. You can never trust anybody because at one moment they’re treating you like sh*t, the next they’re apparently supporting you, you just never know, it depends on the circumstances and what they want to get out of it. The castle however is a towering inferno (Utena has been the accelerant for the Fool, the Hanged Man, the Blasted Tower and The Magician saving the High Priestess, Empress and World – adding my own tarot metaphor there) and people want out or at least change so its in their best interest to help the duo.

Utena gives Anthy ‘Hope’ (in typical Daughter style) and Anthy gives her the ‘Wisdom’/Knowledge/Experience (in typical Mother style) and together they are/have the ‘Power’.

The crosses (originally a Goddess symbol) are sneakily added amongst the roses in typical Rosicrucian fashion (the ‘hidden in plain sight’ sneaky yet totally flourishing signature ‘WE’RE HERE, WE DID THIS, LOOK AT US AND BASK IN OUR GLORY – which we took/live through vicariously’ style and remember that Anthy is the sacrifice/loss of innocence), making it appear as if they’re the backbone/structure/support for roses in a garden. (Remember some wild roses are edible – e.g. dog roses (rosa canina) which both feed/nourish you and provide/are protected in that the bulbs contain itching powder typifying Mother Nature but modernized/masculanized with the ‘dog’ which has also become an insult, using the ‘feminine’ of something as an insult and ‘dog’ being ‘man’s best friend. I’ve noted the use of cats and dogs in symbolism before but also dogs are purported to be used in bestial ways for ritual programming. The garden variety are cultivated which says it all really, the orchestrators of society, man vs Nature, Man over Nature – very Italian and Eurocentric mindset in general in its gardening ethos – ‘Europa’ meaning trapped goddess.)

All duellists are given a ‘ring’ which seals the deal (like in marriage, and those who ‘win’ the tournament are ‘engaged’ to Anthy).

The cartoon also hints at systematic abuse of the contestants/students/players or at least some of them who are groomed, bought and sold; and it’s decided when they are children by adults, including their so-called parents/guardians. The whole thing is ritual abuse.

Here’s an interesting review:

http://intersections.anu.edu.au/issue5/charlton_review.html

Intersections: Gender, History and Culture in the Asian Context

Issue 5, May 2001
Dir. Kunihiko Ikuhara
Utena: Adolescence Mokushiroku
(The Adolescence of Utena)
Colour animation, 74mins, Japanese, Japan 1998. – Reviewed by Sabdha Charlton

Anthy and the rose seal the world

Anthy and the rose seal the world

If it cannot hatch from its shell, the chick will die without ever truly being born. We are the chick; the world is our egg. If we don’t break the world’s shell, we will die without truly being born. Smash the world’s shell, for the Revolution of the World.

1. As its name suggests, revolution (kakumei) is a key theme in the suite of productions that go by the name Revolutionary Girl Utena (Shoujo Kakumei Utena). Like many other Japanese manga, it is a story that has appeared in three formats – as a printed comic (manga), a television series, and a film (known in English as Adolescence of Utena). Each of these formats tells more or less the same story, with more or less the same characters, and though there are also significant differences between the three versions, they all have in common a narrative trajectory that climaxes in a revolution that destroys the world of the story and releases the main characters into a new world. This review will concentrate on the film, with some reference to the series.

2. Adolescence of Utena is a richly detailed and visually stunning film, with a storyline so complex that it is impossible to do it justice here. It occurs in what is commonly known as an alternate universe; that is, the story and characterisations differ significantly from the series, rather than being contiguous with Figure 1. Utena, Anthy and the Rose Seal the world set up in the series. Briefly, the film revolves around a pink-haired, boyish girl called Utena Tenjou, an eighth grader at the Ohtori Academy. When she arrives at the school, she receives a ring with a rose pattern on it from the centre of a white rose. Her old boyfriend, her ‘prince’, Touga Kiryuu (who we later learn is actually dead, and thus a figment of her imagination) also possesses a ‘rose seal’ (bara no kokuin). Utena soon meets other members of the school who wear the rose seal, and she learns that the wearers of the seal must duel each other – the winner of the duel is then engaged to Anthy Himemiya, the Rose Bride (bara no hanayome).

The possessor of the Rose Bride receives her services (sexual and otherwise), but, more importantly, also possesses the ‘power to revolutionise the world’ (sekai o kakumei suru chikara). Disappointed by the failures of her own prince, Utena has decided that she wants to become a prince herself, and so duels for Anthy not because she wants the revolutionary power, but because she is angry about the way the other duellists treat Anthy when they are engaged to her. Like Utena, Anthy also has her (dead) prince – her abusive brother Akio, the chairman of Ohtori Academy and the mastermind of the Ohtori world. Anthy is drawn to Utena because of her nobility and sincerity, and Utena eventually returns this feeling. Their bond is cemented by their mutual guilt over the deaths of their princes, and together they escape both Ohtori and their princes in a climactic scene where Utena turns into a car that Anthy drives through many obstacles to eventually reach the outside world. In doing so, together they revolutionise the world of Ohtori through this act of escape.

3. This revolution involves the complete collapse of the Ohtori Academy and the castle suspended above it. This castle is significant because it promises eternity and miracles to Utena as the possessor of the Rose Bride, at the price of both their freedoms, and its destruction means simultaneously the gaining of freedom but the loss of eternal life. Although the series also involves these kinds of excessive cataclysms of disaster and emotion, the Utena movie is a site of excess even beyond the series. The film is highly intertextual – at its most basic level, this is evidenced in the way that the narrative is very difficult to understand without prior knowledge of the storylines and characterisations of the series [my comment – or without knowledge of masonic symbolism and ancient culture/history]. This means that comparisons between the two are inevitable, and thus the movie is always more than the series more obscure, more symbolic, more artistically impressive. Similarly, in the characterisations of the main characters Utena is more masculine, Anthy is sexier, and Touga and Akio more princely. This excess extends to the settings and technical codes of the movie. For example, there are masses of roses as far as the eye can see where in the series there is a simple glasshouse within which the roses are contained, and all the characters have masses more hair (except Utena who, in keeping with her more sober, masculine characterisation has her hair cropped). The architecture of Ohtori academy is angular, distorted and often shown in long shots which emphasise space and distance – indeed there are huge echoing spaces everywhere, inside the buildings and out. This excess is particularly clear in the depiction of sexuality, most notably in the ending, where the same-sex love of Utena and Anthy is graphically illustrated, unlike the series where the same-sex eroticism is limited to a subtext fed by a visual vocabulary of looks and poses. Revolution is in itself a kind of excess or uprising, and thus these excesses of characterisation, mise-en-scene and sexuality in the movie are key in producing Utena as a revolutionary girl.

4. However, revolution is figured in Utena in more subtle ways than through setting and narrative. Both the series and the movie are known for their extensive use of symbols and myths from a variety of sources. One of the major sources from which these are drawn is the work of famous manga artist Riyoko Ikeda, in particular her path breaking work The Rose of Versailles, and indeed Chiho Saito and Kunihiko Ikuhara, the creative team that authored, drew and directed both the movie and the series, cite Ikeda as a major influence on their work.[1]

The Rose of Versailles is a re-telling of the French Revolution through a fictional character called Oscar, who was born a girl but raised as a boy by her father (who was frustrated by his lack of sons). Oscar goes on to become the commander of the Royal Guard, and protects Marie Antoinette and the French court. Ikeda’s influence can be seen across many aspects of Utena, most immediately obviously in the use of roses as the primary symbolic sign, and the figure of revolution as the narrative engine of both series. Furthermore, all of the Utena series, manga and movie are subtitled in French (La Fillette Revolutionnaire). Revolution as it is invoked in Utena is thus inflected through this association with an allegorical link to a romanticised version of European history, specifically the French Revolution (which in Utena’s subtitling becomes a French revolution). Furthermore, Saito’s characters, like Ikeda’s, have angular, lean bodies, long flowing brightly coloured hair, wear close-fitting, romanticised, old-fashioned military uniforms complete with tassels on their shoulders, and regularly take part in spectacular sword fights. Their genders are similarly romanticised and fluid, and the main character in both The Rose of Versailles and Utena is a girl who wears boy’s clothes, uses the masculine self-referential pronoun boku and has a distinctly boyish way of speaking (especially in comparison to the hyper-femininity of characters such as Marie Antoinette and Anthy). Indeed, these characteristics of the two works are located within the broader tradition of shoujo manga (girls’ comics), which abounds in floral imagery, ambiguously gendered characters, and romanticised references to vaguely historical European culture.

5. The genre of shoujo manga is generally acknowledged to have been started by the ‘god’ of Japanese manga, Osamu Tezuka (best known in Australia for his Astro Boy series), and early shoujo manga was indeed mostly drawn by men. However in the 1970s a group of women known as the 49ers (because they were born in and around 1949 [my comment – notice how the re-introduction of the Divine Feminine started ‘finding’ its way into popular culture after WWII, before that it was purely secret society secret knowledge even amongst themselves]) came to prominence, and the genre of shoujo manga has been dominated by women authors and artists ever since.[2] Ikeda was one of these 49ers, and is probably the most well-known of these outside of Japan thanks to Frederik Schodt’s translation of a few pages of The Rose of Versailles in his book Manga! Manga! The World of Japanese Comics.[3] Shoujo manga is known for its fascination with human relationships, and notorious for its treatment of gender and sexuality through the sub-genre of bishounen manga (comics about beautiful boys, often with romantic, homosexual storylines). Ikeda’s work, and by extension Utena, is a twist on the beautiful boy story, in that the beautiful boy (Oscar, Utena) is actually a girl, yet stylistically and thematically both works are clearly influenced by this sub-genre. In drawing on Ikeda’s work, Utena harks back to a period in the history of manga when women artists were revolutionising the genre, carving out a space for themes not treated in mainstream boys’ and adult manga.

6. This relatively new genre of manga has received much attention in the academy. Many authors have been concerned with trying to understand why Japanese girls favour stories about subjects completely removed from their own experience – stories of love between boys, manga set in the West, and fantasy and magical storylines are those most often analysed.[4] According to these scholars, Japanese girls are so subordinated and repressed in Japanese society that they turn to shoujo manga for an escape from the limited versions of sexuality, gender and desire that are proscribed for them. The director of Utena, Kunihiko Ikuhara, echoes this when he states that the reason that the female characters turn to each other, rejecting their failed princes, reflects Japanese girls’ dissatisfaction with their position in contemporary society – ‘women no longer wish to be subordinate. Women are asserting their position in society.'[5] Utena is thus self-consciously produced from within a discourse that is concerned with women’s desires and resistances to their social positionings, and Utena’s revolution is as much about the feminist uprisings of the 1970s as it is about the French Revolution.[6] In this sense, Utena and Anthy’s escape from Ohtori is also an escape from dependence on men, and by association, on the society that privileges men. Their escape is not a simple running away, however. By refusing the world of Ohtori where they can only ‘be alive while dead’ (like their princes, Akio and Touga), they revolutionise that world – without them to prop up the fantasy of eternity and miracles that Ohtori promises, it collapses behind them (almost destroying them in the process).

7. The outside world to which Anthy and Utena escape is a utopic world where ‘there are no paths, where we can make our own paths.’ In this line the ambivalence of Utena’s revolution becomes clear, for even though it suggests that the potential to revolutionise the world lies in a rejection of dominant discourses of gender and sexuality, it does not champion the taking up of other discourses, for example that of lesbianism, despite the fact that it seems to be so clearly figured in the barely subtextual grammar of looks and shots that suggest a same-sex desire between Utena and Anthy.[7] Utena is perhaps the most popular ‘lesbian’ themed anime amongst fans of shoujo-ai and yuri (literally ‘girls’ love’ and ‘lily’, both terms used by fans to denote anime and manga that either contain female same-sex references or in which they can be read subtextually).[8] However, the application of the word ‘lesbian’ by fans, and as a descriptor of Utena reflects a specifically Western desire to interpellate the text into pre-existing notions of lesbianism and same-sex desire. Utena does not invest in discourses of lesbianism or same-sex desire – in fact it paradoxically simultaneously invokes and disavows them. Rather, Utena invests in the romantic notion of revolution as being capable of fundamentally changing the world by erasing categories of gender and sexuality, even as it invests in these very categories.

8. Utena is a brilliant fantasy, richly textured through its invocation of the symbol of revolution. It pays homage to both the history of manga, and the desires of Japanese women, and its complex, highly allegorical narrative and imagery allow for a wide range of identifications and viewing positions. While Utena’s revolution of her world with all its gender and sexuality-bound restrictions may not be available to us in the ‘real world’, this utopic fantasy is pleasure enough in itself.

Endnotes
[1] Mona, ‘Re: Utena and Ikeda Riyoko,’ in Yuri: The Yuri Mailing List, 27 February 2001, (27 February 2001).
[2] An informative site that covers the history of shoujo manga as well as information on the genre in general and some anthropological analyses, see Matt Thorn, Matt Thorn’s Shoujo Manga Home Page, 9 March 2001, (21 March 2001).
[3] Frederik Schodt, Manga! Manga!: The World of Japanese Comics (Tokyo: Kodansha International, 1983).
[4] See, for example, Tomoko Aoyama, ‘Male Homosexuality as Treated by Japanese Women Writers,’ in The Japanese Trajectory: Modernization and Beyond, ed. Gavin McCormack and Yoshio Sugimoto, Cambridge: Cambridge University Press, 1988, pp. 186-204; Midori Matsui, ‘Little Girls Were Little Boys: Displaced Femininity in the Representation of Homosexuality in Japanese Girls’ Comics,’ in Feminism and the Politics of Difference, ed. Sneja Gunew and Anna Yeatman, Boulder: Westview Press, 1993, pp. 177-96; Matt Thorn, ‘What Japanese Girls Do with Manga’, in Matt Thorn’s Shoujo Manga Home Page, 23 September 1997 (9 May 2000); Maia Tsurumi, ‘Gender and Girls Comics in Japan,’ in Bulletin of Concerned Asian Scholars 29, 2 (1997):46-55; Sandra Buckley, ‘”Penguin in Bondage”: A Graphic Tale of Japanese Comic Books,’ in Technoculture, ed. Andrew Ross and Constance Penley, Minneapolis: University of Minnesota Press, 1991; andYukari Fujimoto, ‘A Life-Size Mirror: Women’s Self-Representation in Girls’ Comics,’ in Review of Japanese Culture and Society 4, (December 1991):53-57.
[5] Cited in Shoujo Kakumei Utena Home Page, 5 September 2000, (22 March 2001).
[6] For more on feminist movements in Japan see Vera C. Mackie and Japanese Studies Centre (Melbourne Vic.), Feminism and the State in Modern Japan, Papers of the Japanese Studies Centre 22, Melbourne: Japanese Studies Centre, 1995; and Sandra Buckley, Broken Silence: Voices of Japanese Feminism, Berkeley: University of California Press, 1997.
[7] Indeed in the film the subtext becomes canon in the final scene, where ‘Utena and Anshi [do] the naked street luge while sucking face’ to quote one fan – that is, they exit the world of Ohtori Academy and the duelling arena on the remains of the car that was Utena, stark naked, kissing.
[8] It is worth noting that the other series that Ikuhara is famous for, Sailor Moon, also has a canonical female same-sex couple that is hugely popular among yuri fans.

Seal – Kiss From A Rose

Superchick – One Girl Revolution

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Do Not Disturb – Don’t Come A knockin’ – You Ain’t Welcome

So July 21/22 is the ‘real’ Summer Equinox (in the upper hemisphere), I’m not going to explain it to you, look it up and see to which people(s) it’s poignant, why and what they do, are scared of. I’m tired and have got better things to do, like I dunno, pretending to imagine watching paint dry.

Basically, during the Winter Solstice (My/The Daughter time) masons and masonic wannabes like to come up with scenarios where I or ‘we’ (my representatives/other people who live with/surround me) open the door for them; they’ll do anything, cause public arguments right outside, a domestic where the husband is locked out or ‘you owe me money’ beatdown type thing all so we’ll go and help them and/or let them in. Pathetic. Obviously I am both the door/communicator and the door keeper, the link.

However it means even more when they do it in Summer because that is the time of The Mother (Traditionally when Mother Goddesses actually have a Daughter – later Son – and not just those generically called Mother figures – the Daughter is abducted/married/somehow made dark/impure via masculinity/husbandry/sex etc and is associated with Winter but symbolically means she spends her time in multiple consciousness/more than one world. Otherwise the Mother is all the seasons. Summer and Winter both encapsulate Spring and Autumn, as we’ve been physically seeing for quite some time too). The 21st-22nd of any month have been favourite days for stupidity by local and imported/visiting masons wherever we’ve been in the last few years but prior to 2012 it was Winter. But finally they got to the Summer Equinox and on both days, just in case. On the 21st they metaphysically implied that I let in a ‘lawyer’ and not just any ‘lawyer’ to see Mum, he listened to everything that had happened/is being done to Her and decided he was going to do the same. Oh Hell no. He got shown the door in another way. Yesterday the physical door was knocked on and in reply we closed all the windows.

If you are someone special don’t let the f*ckers in (ever) but especially on those days, k?

“Rapunzel, Rapunzel let down your hair [so that I may climb the Golden [ratio] stair]” – the latest mind game phrase to refer to me.

No way jose!

P.S I prefer The Tower card not the ivory phallic tower/obelisk, plus the Witch makes far better company than you. And btw cabbages don’t symbolize kings (why you love planting them in your gardens as soon as you become our ‘neighbours’) and Rapunzel is not a shortened word form, it’s a longer form, why? The kings and false royalty in general have/are/were never any anything let alone a comparison to the real Queen [of Queens].

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Fatal Attraction – Not something to aspire to but can be worth striving for

Gustav Klimt - The Kiss

Gustav Klimt – The Kiss

Klimt - The Embrace

Klimt – The Embrace – the Gold version of ‘Fulfillment’

Note – this is a post only for people of a discerning, mature nature (that excludes ‘sophisticates’ who are just children playing dress up, thinking themselves special and ‘privileged’ for being part of a ‘secret’/club and then enacting their warped fantasies on everyone everywhere they can).

I keep telling people not to fall in love with gods unless they are gods, you see the human/vampire love for example in the media and unless you’re truly exceptional a mixed species relationship is not for you (and being exceptional or ‘extreme’ is not all it’s made out to be, neither is ‘normal’ but still).

We are incredibly attractive, not least to each other. Our love can last more than a lifetime for one being and we can find each other. True love for us is not the same as love for humans who’d see it (and for whom it would be) obsession, infatuation, an overwhelming need. Pain, love, need, desire, fixation, devotion – it’s all there and yes it seems/sounds just so sexy. Though for some of us sensual (different to sexual and doesn’t have to be sexual, doesn’t even have to be erotic, just powerful) is a better word. We can just look at each other and smoulder.

But its not for people, they can’t handle it, the body and even the mind is not suited for so much feeling. It’s taboo for numerous reasons and there are those who like to take advantage of/sabotage such relationships.

Now we all know the entertainment media is the ‘illuminati’ playground and despite my use of visual and music media as explanation aides I don’t actually keep up to date with celebrity so while for illustration I’ve heard the hysteria over ‘Katy Perry music videos’ (and various awards shows) I hadn’t actually paid any attention to them. Why should I? It’s all about us and I know that already, it’d be the equivalent of listening to your own records all the time and seriously, I’ve never needed or wanted an entourage/trumpeters to blow my own horn – I can do that myself 😉 . I included one of her songs ‘Roar’ or my ‘The Legend of Korra’ – the Girl who merges the Unseen with the Seen post without realizing it was her song, and then saw a picture of her ‘Dark Horse’ video and colour me intrigued…

I was never particularly interested or impressed by her music nor videos early on except her debut hit which obviously shattered a lot of social perceptions. (I remember a church sign proclaiming ‘I KISSED A GIRL AND I WENT TO HELL’.) But as somewhat associated with horse ‘mythology’ I just had to watch it and… Well, spot on. Her videos are very theatrical in a pantomime way but she has become very much the ‘illuminati puppet’ in terms of a vehicle for symbolism. I think it’s a great video but it’s a bit like setting an age range on a film; you can appreciate and laugh at messages like this when you know what they’re about, who they’re about, even know the individuals, were the characters etc. For many people spotting/learning about this kind of thing there’s automatic fear, rejection, disgust (rightfully so for many parts of it and its true her videos also make great parodies and parody material) but there’s a difference between reacting and responsibility; it’s like when I write online and then sites put up articles, pictures, quotes etc ‘accord’-ingly in ‘reply’/commentary/for/against (as if I’m even talking to them or anyone in particular).

There’s a lot to dislike and be worried about in terms of practices in Dark Horse, but for me and others at least, there’s a lot to smile at, if you think it inherently evil you really need to sit in front of a mirror for a long time. There’s parts in it that are controversial based on preference alone as well such as the pole dancing but after seeing some of her videos I actually think the composition works (not that I condone those professions, lifestyles etc I’m talking about a tiny minority where it’s sometimes ok between a couple for example) and I appreciate that she can do the gymnastics I can/could (it feels good to be fit and flexible). I don’t appreciate the pushing of this stuff on the mass mindset though, the making of celebrities to think/believe/act like they are these beings and all the debauched things many of them participate in for ritual, the glamorization (though it is glamorous/lush/scintillating/appealing what have you) and normalization of what really is the height of excess/exaggeration in its portrayal. Making the exotic common, and debased. Not everybody acts like that/partakes in what is shown, many do but I’m not talking about them *dismissive hand* they can go jump. And it’s not like an addiction for everybody, it’s not looking at others as a some kind of delicacy and being hungry all the time (and certainly not like a ‘piece of meat’). There’s a ton of psychopaths and sickos in this world, some of us come up against more than anybody’s ‘share’ of them and when you deal with them frequently you have to put in the effort to separate yourself and keep yourself calm, centered, whole. If you want to call a whole group depraved and contaminated it’s just as easy to say the same about humans, but I don’t, I’m more humane than most people. Even if it’s just the tiny minorities in these various species (humans included) that are trying their best not to succumb to degrading ways whilst expressing their thoughts and feelings.

Dark Horse – Been there, done/am that, the ‘siren’ vibe that is, not the monotomic consumption, gimme gimme gimme attitude, rich/poor class system and so much more – but when I’m in love (and its only ever one at a [long] time, if not really just one throughout) if he wants to adore me he most certainly can.

Is it wrong to feel insatiable over the one you love? If you’re desiring things that are damaging, hurtful, things they don’t want, are fundamentally repulsive, against their nature etc then yes it is. But having a love so powerful it doesn’t die and is easily fanned again no matter what the circumstance is really quite rare – when not psychopathic – there’s plenty of instances where people spend most of their life relatively ‘happy’ in one relationship. However when it’s fairytale-esque in actuality rather than imagery it can be daunting, the usual ‘I will do and go through anything for you’ scenario in many fairytales is what draws/enchants/entertains people, but that’s life for some of us. We feel like that/that depth of passion consistently and don’t deny that many, many people are stirred by the idea of someone being so dedicated to them, so protective, so admiring, so wanting. The problem is limits, personal boundaries, ethical choices and ignoring/not caring about them… Some people take passion and act like it’s an excuse for treating someone they supposedly love in ways they shouldn’t even think about treating an enemy.

E.T – the colours are perfect in this and of course they’ve taken a lot of care with the props/costuming, whilst still theatrical it’s ‘smoother’ than Dark Horse and in practice the whole ET (or any) abduction (as opposed to rescue) scenario is a no-no. Notice how he has to change bodily to become more compatible with her too but the intensity of the feeling, that reaching for each other is something many of us can relate to without being invasive (and which could be said without making greys/alien/any kind of abduction look like something people/beings actually want except those doing the abducting.)

I do like that ‘she’ (not sure how much ‘creative control’ she really has, how much she knows, is influenced etc) has a sense of humour. You can’t be/remember a long existence without being able to see the funny things, or act a little silly (note that doesn’t mean recklessly stupid and foolish) ok you can and those people are just *roll eyes* too serious for me (and that says something, I’m a grouch but I’m morelike Oscar the Grouch, he’s kind and witty really) – this is one of her funnier videos. That supernatural tiger (or any animal) imagery btw is significant, some people will know that, unfortunately much from a ‘spirit guide’ or projection point of view or sadly a having it done unto them situation.

Unconditionally – I’ve said plenty of times my love isn’t unconditional (nor available actually – facets/mirrors even from an ancient Egyptian scenario) but who wouldn’t want their beau to take them to a ball, lift and twirl them or be the one doing the chivalry, benevolent charm? I’ve not seen many complaints against the idea of a lover (and not an abductor/traitor/enemy) flying away with you in their arms. The problem again is people take things too far and indeed on a regular basis; it becomes a decadent, indulgent immorality for many. People can’t control their passions and it becomes dangerous in a bad way, predatory, and they build up systems to feed it.

Love me – I like this one, go girl (although I’d use the throne to batter them instead of kicking it over).

I’ve embraced my ‘dark’ side. I’m a richly deep, magnetic, provocative yet also sweet, lighthearted, funny person. I’m complete, replete. I’m your poison and your cure. Did you want me to be a tool; or a crawling, crumbling, crippled creature? Do this scare you? It should, because I’m in no way evil or intoxicated, neither am I submissive or tolerant of those of you who are.

Poe – Control Lyrics
http://www.lyricsfreak.com/p/poe/control_20109683.html

Don’t you mess with a little girl’s dream
‘Cause she’s liable to grow up mean

Surprised you to find that I’m laughing?
You thought that you’d find me in tears
You thought I’d be crawling the walls
Like a tiny mosquito and trembling in fear

Well you may be king for the moment
But I am a queen understand
And I’ve got your pawns and your bishops
And castles
All inside the palm of my hand

While you were looking the other way
While you had your eyes closed
While you were licking your lips
‘Cause I was miserable
While you were selling your soul
While you were tearing a hole in me

I was taking control

Now I have taken control
Now I have taken control…

This is beginning to feel good
Watching you squirm in your shoes
A small bead of sweat on your brow
And a growl in your belly your scared to let through

You thought you could keep me from loving
You thought you could feed on my soul
But while you were busy destroying my life
What was half in me has become whole

While you were looking the other way
While you had your eyes closed
While you were licking your lips
‘Cause I was miserable
While you were selling your soul
While you were tearing a hole in me

I was taking control

Now I have taken control
Now I have taken control…

So this is how it feels
To breath in the summer air
The feel the sand between my toes
And love inside my ear
All those things that you taught me to fear
I’ve got them in my garden now
And your not welcome here

Come a little bit closer
Let me look at you
I gave you the benefit
Of the doubt it’s true
But keep in mind my darling
Not every saint is a fool

While you were looking the other way
While you had your eyes closed
While you were licking your lips
‘Cause I was miserable
While you were selling your soul
While you were tearing a hole in me

I was taking control

Now I have taken control
Now I have taken control…

Don’t you mess with me.

[Poe’s Father film director Tad Danielewski:]
There has to be more to life than this, because in our confrontation with a cold cold universe, there is something comical to the idea that we can really impose our will on humanity– power corrupts!

[Poe as a child – her name is Anne :]
This is scaring me.

Second dialogue:

[Anne :]
…I live at the end of a 5 and 1/2 minute hallway

[Father:]
And at the end of it all lies of course the final phenomenon of deterioration entropy, which is a predictable disintegrations which the creative life ceases: everything has to fall apart.

[Child:]
Why are you always so serious?!

 

Note: I don’t like the films ‘Fatal Attraction’ and ‘Basic Instinct’ nor the use of the iconic scene for Rihanna’s post-domestic-violence interview nor the use of it in the latest Wonder Woman film.

Gallery

‘The Legend of Korra’ – The Girl who merges the Unseen with the Seen

Roar – “I got the eye of the tiger, the fire, dancing through the fire, coz I am the champion and you’re gonna hear me roar, louder, louder than a lion, coz I am a champion and you’re gonna hear me roar.”

‘The Legend of Korra’ (2012-14) was the sequel to ‘Avatar – Last Air Bender’. I’m not keen on the use of the term ‘avatar’ it’s a bit like ‘namaste’ to me where it’s over use has skewed its meaning and made something rare too common. I’ve explained the term ‘avatar’ before but anyway in this series the former Avatar was ‘Aang’ and as titled, was primarily an air bender.

What are we talking about here?

Elements, transformation, magic/mastery/alchemy and some people’s natural/unnatural bodily abilities. A bender in this cartoon is someone who can harness and ‘bend’ an element to their will (note it’s not described/portrayed as working with elements, rather its shown as controlling them). In this cartoon there are four basic elements and then variants of those four; earth, air, fire, water and then say a variant of earth would be the power over metals. The ‘avatar’ is the one person (only one at a time) who can control all the elements. Avatars can be female or male, reincarnations of each other, their powers are hereditary to an extent and predisposed unlike the Slayer (Buffy) who is one girl all the time, always herself and her abilities are not transferable (regardless of how they showed in the ending) because she is the chosen.

The premise of Avatar is similar to ‘Naruto’ a very popular, long term Japanese multi-media franchise where there are some countries and then villages/clans that protect them, serving as ninjas but super-enhanced-magical ninjas who have transformation/mutational powers over the elements. So they are both power wielders and physical combat fighters. They’re also exclusive. In the Avatar cartoons, people with bending abilities are somewhat rare. That said ‘Naruto’ is more complex and full of moral/ethical dilemmas.

Korra – the Maid/Daughter

Kore means the Maid/Daughter; Korra is a dark skinned ‘ethnic’/tribal, medium sized well built (I say that because so many protagonists are thin to skinny), triple tail/hair, outlands clan member, her clan are primarily water benders. The fact that she is the Avatar is visible very early, she’s highly adept at 3/4 elements and at fighting, air is her weakest element because she is so physical/grounded and air in this cartoon represents the spiritual/the ability to see. It might also have something to do with the last Avatar being an air specialist and so other elements came into play first this time.

Note – some people are of the ridiculous persuasion that some elements are ‘better’ or ‘more powerful’ than others, that they have a hierarchy. BS. It depends on the user and how strong they are. Simple. Water isn’t always going to cancel fire or earth trap air for example, and opposites attract hence Korra is usually depicted as both fire and water. Her personality/avatar lineage is fire and her ‘home’ genetic lineage is water, both also happen to be opposites. Also even if you are not made from all the elements doesn’t mean you can’t handle a different one to yourself. Life is a paradox.

The Legend of Korra Water Fire

She leaves her home village to live with one of the last air benders left (air being that rare now) so he and his family can teach her about the element. She also meets and joins with benders who work/compete in entertainment combat. Her new master/teacher isn’t fond of the tackiness of sports entertainment but she realizes she needs that experience to learn more on the spot/spur of the moment/situational techniques and whilst sparring is a dangerous type of training, it’s effective. As part of a team it also gets the blood flowing so to speak, even her Master gets into it and cheers her along when he finds out where she’s been going…

That’s the thing about Korra – she’s an Avatar with a difference i.e. she does her own thing. She’s not regimented like the past avatars were as weapons of war, she’s fiercely independent yet dedicated to what she does/her ‘calling’/role and what that means i.e. caring. She finds out that a lot of people like to use the avatars for their own personal agendas; family, friends, bosses, frenemies, enemies etc and it means like most people in this position there’s very few people they can trust and it often involves a lot of hurt. She’s determined things are not going to continue the way they have done. Her very existence challenges status quo’s and so she has to learn to know herself and everything from that which she comes. Once she learns how to use Air and relaxes/learns to meditate it just comes naturally to her as it should and she becomes consciously connected to all the past avatars whose collective experience she can access and learn from. She is the accumulation of their experience and her personality.

She thinks for herself, is outspoken, not afraid to listen and listen hard, she’s passionate and will show it. This attracts a close knit of other strong people from various walks of life, benders and non-benders, from working class to ruling class. One of which is the ideal modern feminine (whom Korra’s initial love interest falls for/literally bowled over by); tall, thin, light skinned, gorgeous, successful, able and in conjunction to that it’s interesting and poignant for a non-adult and US cartoon that the romantic partner Korra ends up with (not explicit) challenged ‘normal’ social perceptions. There are also hints to the deeper symbolism/culture/history here and not just in her name (though that is very important). For example her best friend and travelling companion/transport is a giant ‘polar dog’ (polar bear but described as a dog, this ties in to the companion of the divine character as being loving, faithful, protective and supportive. For Goddess/Goddess based characters it’s usually a cat or a bird or something winged but in modern tellings with masculinity the character is often a dog/doglike – a bit like in The Never Ending Story where the dragon is shown like a dog.) However her polar dog is actually a bear – so right there you know she’s a Goddess character (not just an avatar, the bear being one of the oldest forms of Mother Goddess worship) and her name tells us she’s the Daughter, along with her personality. Her ‘dog’ is also called Naga lol her bear/dog is also a snake, so secret/wisdom Goddess companion. Naga is strong/fast/agile.

Legend Avatar Korra and Naga

Korra and Naga, a bit like Princess Jasmine and Rajah.

Add to that this friend:

korra dragon bird phoenix

And she has almost the complete set (from the obvious lot).

Korra can sense the unseen, she is partially of the unseen, but she’s also come at a significant time at the crux of the ongoing fight between good and evil (shown as feminine and masculine – not to be confused with how we normally think of them in day to day life), that makes her life much more draining because she’s sensitive to the flow of energy between those forces in conflict. To deal with this she has to access another self, a greater self, a self that also needs her as she is uniquely placed/compatible to be it. The cosmic self. Since she is already from multiple lines of ‘interesting’ people (avatars who are mixed-dimension/world/parameter beings, and her clan) pushing herself to this even further distance is something she can and must do. The seen and unseen have been at war and in pain with each other and themselves for too long. The barriers and divisions, the smoke and mirrors have created boxes and the walls have closed in to the point where we can’t see anything else, we feel trapped/unable to move and can’t even see everyone in the room and we’ve missed out, we’ve missed each other all this time. An inexplicable sense of loneliness and needing somewhere to belong for most people when that’s just not the way it is, it shouldn’t have been that way.

Korra Ultimate Manifestation

Korra Ultimate Manifestation

Korra Ultimate Manifestation Kills Evil

It’s obviously not easy/going to be easy, even people who supported her before she does what she does turn and don’t like the results expecting instant healing/harmony but this is a collision of worlds, not a picnic. She’s a warrior of warriors, a lover, thinker, protector from the Divine Feminine not a faux nanny state governess or au pair.

To finish, an acknowledgement to another amazing Daughter character in this cartoon; and what an awesome, fearsome, courageous, hard, loving woman she is; when this woman has your back, you know it. Even those who’ve lost her think of her as their hero.

Lin-Beifong

Lin Beifong – as mentioned in a previous post: No More Sacrifice

Lin Beifong has a very difficult relationship with her Mother (Toph) and half-Sister (Suyin), which is healed later on. Toph (one of the best Earth benders) is described as:

Toph is fiercely independent, direct, belligerent, and practiced in taunting and insulting her opponents and on occasion her friends, particularly Sokka. On several occasions Toph appears picking her nose, spitting, and belching loudly.

https://en.wikipedia.org/wiki/Toph_Beifong

Yeah… No comment (it’s so true).

Beifong Family Crest Goddess Emblem

Beifong Family Crest – Goddess emblem

Mama Said Knock You Out:

There’s no going back, it can ever be the same, there’s only forwards and it’s not what you think/fear it is.

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Video Games Day

What is a video game. Think about it, what if we lived in ‘Tron’ (1982), ‘The Game’ (1997), ‘Sucker Punch’ (2011), any of the ‘.Hack//’ animes or any of the plethora of ‘person in a strange world’ media, tons of them. People are obsessed with them, with feeling out of place, with feeling disconnected, ignorant, played, not sure of who they are etc. Hey, we live in an electromagnetic and apparently holographic universe and we’ve already proven (though we knew it already) that the air, sky and outer layers can be used like a cinema.

Video games have a set of options, possible paths and outcomes, factor effects etc – some of us can and/or are conditioned/trained to be able to assess them better than others, some of us see bits of the ‘scripts’ more than those who look on a different scale. But we all want the outcome we want. Obviously. The question is what is it do you want. How many goals do you have? Do you have a grand scheme/allegiance and personal aims/plans, do they conflict, would you sacrifice one for the other? What are your limits? How well do you know yourself/your personality and/or your history? How well do others know it? We on this planet are constantly questioning this and express it, ultimately the concerns are very similar, we face the same questions and answers so it’s easy (well not very, but easy to predict at least) to control those here.

I can’t be dealin’ with prophecies

I’ve said before in a post that I don’t make prophecies or give dates, heck they’re beyond my abilities and that says something given how I am ‘naturally’ a part of/see/experience levels.

There’s something inherently repulsive about them to me anyway because my experience of them sets me on edge and I prefer to be calm when looking at patterns/codes, symbolism etc. However because I know they put me on alert that means I push myself to be consciously fairer and more open minded when researching them.

The ‘issue’ is that people have always been telling me “you’re the one”, or about me “she’s the one” and mostly they fail to explain, all hush hush (without the wink wink) and at the same time “you are nothing”, “you know nothing”, “you’ve done nothing”. Hey I don’t mind being the all and nothing, I love the void :p it’s you who don’t 😉 . Since I was a little kid, the grand patriarchal side had already foresaw things, and the matriarchal side had put things into place and it’s like wtf? It’s not uncommon of course but whilst some of us are apparently ‘destined’ for great things they still treat us all like crap, some favoured, others not, builds up or breaks down the ‘bonds’ they want. I’ve found most of these people untrustworthy, like they’ll put you through hell and then say you turned out exactly how they wanted and they love/are proud of you. They put things/others in your life just to take them away/use/hurt them at another point. Destiny is a well formulated and strictly enforced plan, every step of the way rather than say planting a seed, letting it do its thing with it own organic growth and periodically check up on it to make sure it’s safe, healthy, thriving, content and beautiful.

I’ve always dislike favouritism, possibly because I’ve seen the cruel, selfish, spoiled, greedy, shallow be favoured and those of us who do the donkey work, who help those who need us get through each day, who take responsibility (when we don’t need to) get the short end of the stick for relatively minor things whilst the ‘prodigal’ ones can do anything and everything to anybody even their elders, even those they’re bonded with etc and are wistfully looked at, aspirational. Living by example doesn’t pay and there’s no gratitude, and that’s ok, not expected, to an extent… But oh well, we just keep at it. It’s not like you can just walk away and be left alone, and could you live with yourself if you did?

I do things personally, on the ‘god’ levels whilst treating the followers, hangars-on, graspers, wannabes and those caught/trapped in the lesser levels with a lot more tolerance/patience (even if they don’t deserve it). Ironically they’d make you as weak and malleable as possible just like the upper levels and yet taking things out on something ‘smaller’/lesser/weaker than you is just distasteful, to me anyway. I know a lot of people take things out on inanimate objects too, but I find that ridiculous. Just do some flippin’ yoga or non-contact, not-too-aggressive-sport/hobby to calm, read/watch a silly comedy, take a bath/steam/sauna whatever; the contact/combat, intense stuff is a different matter and also necessary but not to be confused.

I don’t like skirmishes, thuggery, gang mentality etc, I’m pretty much a solo yet have friends/loved ones and help any/everyone in overwhelming pain that I can and I’m in it for the long haul, I don’t just give up on people, it might take ages but we get there, I might take a battering(s) from the very people/person I’m trying to help (and who even called me) but I get them out of it like they wanted. I don’t know if I’m the better for it, I’m old and tired but hey the older the ‘rebel’ or ‘leader’ any type of ‘player’ (and no I don’t play games, I try to explain them and even take them a part because humans and those they are like are addicted to them) the more dangerous they are.

I’m one-on-one, if I love you you damned well feel it, if I hate you you’ll know the meaning of fear without me having to do anything at all. This is some of the power of some of us, people and ‘people’ who for whatever reason attract others by their strong magnetism/personality/strength/resilience/ideals etc. It’s obvious I’m not interested in games or using others, but others use everything you say, think, do as a signal of some kind, as a juicy theme of the day for their news perspective/games/gossip/reporting, amazing when you’re a private individual lol. Yet groups still want you for something. And it’s that something that bothers me, even people you love have goals for you that they didn’t tell you from the start and that’s not me, I make my position clear from the start or any change as soon as I change. I say what I want, what I don’t want (and it’s rarely listened to) but still at least I try to let people and ‘people’ know where they stand with me, unless they’re game playing or communication is awkward for whatever reason. That actually puts me at a disadvantage, it’s not very clever at all, but it’s who I am.

Then there’s those that believe you’re the answer to their call and you didn’t even know they called you. Hmm.

I’m just writing the explanations of masonic symbolism here along with other things that interest me, ironically the symbolism is something that idiot masons and associates have convoluted so much over so long they barely understand themselves anymore so they flock to those like me who can see/understand (and treat them like sh*t). I don’t publicize anything nor ask for anything (heck your brutal masonic upbringing teaches us not to ask for anything that’s for sure), you don’t have to follow in any way whatsoever and yet… Playing follow the leader when the ‘leader’ doesn’t even want you. Pathetic.

You mess about with people’s psyche’s, their subconscious, unconscious, the approx 33% of their lives they spend asleep, you’re invasive, not me. Btw – El Cazador De La Bruja talks about the formulation and trying to attract a godsoul/spirit, it’s a new based on the old/continuing Mother/Daughter story/life. Control via the unconscious; so if people who’ve been conditioned for fight/flight, escape/evade, missions in a virtual reality environment and/or are just targets for practise, fun, keeping the pack satisfied etc then they should be able to defend themselves. Quite frankly if people and even ‘people’ and other species are going to go to sleep, then they should be able to sleep/rest in peace; if they’re going to dream they should be able to remember it, it’s not for you to be there and then choose whether they remember it or not, it’s their memory/mind/personality/life. We shouldn’t be sleeping or dreaming (or living fabricated waking realities) in the first place and you know it. Your change of game tactic was mega quick though, unsurprising given its one you already use i.e. surrounding the target and you with ‘children’ characters so they’ll relent, be more at ease, forget etc. Low. Really low. And you pretend to be the ‘good guys’.

I’m associated with fate/the fates, so not random ‘luck’, maybe I’m pushing against my own fate too much or at least the destiny decided by others, I don’t know. That’s the problem, people barely know anything – as quoted from ‘Read or Die’ anime – “99% of people don’t even know who they are”. So those of us who know more imo should be more open about it which is what I’ve always tried to do.

You want me to do something for you, you had better be clear about it from the start. Don’t be having meeting about me and saying I’ve done this, said that and so it’s permission, association, validity or whatever for your hopes. Yes I’m associated with hope too, but not everybody can get what they want. I’m here for Earth, the Mother Goddess, that’s it – who I help extra to that is separate, conditional and subject to change. I’ll suffer and have with others, I’ll shoulder the pain and burden, just knowing me makes things like getting into private schools on almost no fee etc happen for people who are/are seen as ‘close’ to me and the same for those who’ve parasited off association with Mum and anyone seen as a ‘source’ etc but anything we try to do for ourselves… I’m no one’s tool and I won’t be played for a fool. I keep telling people and ‘people’ to decide what they need to be happy, them, inside them, not all the expectations, programming, conditioning, culture etc (if it doesn’t hurt anyone/thing else). The thing is the people and ‘people’ who do that, and moreso those who do that successfully tend to be the least caring and/or quite oblivious and those are the ones gods, demons, villains, heroes deal with (and that should mean dealing with each other too one-on-one without using masses/regular ‘people’) and then if Gods are necessary you know it’s bad, messed up totally. Which is where ‘we’re’/the planet/narrative is at. It’s not a prophecy, worlds are ‘live’.

So stop saying ‘you’re the one’, ‘they’re the one’ to ‘people’, god levels and in our case Gods even. Let alone hanging onto their coattails for ‘inspiration’ on which stories/reviews/thoughts of the day to write, playing all sides and trying to beg friendship or belittle to prove yourself in another alliance you want. Life is not supposed to be a coup d’etat or game. But if you only understand it that way – this is the last/final round. I’m not escaping the fate I set myself, just not accepting other roles, add-ons (being connected to me doesn’t mean my titles/status/heritage etc is yours and vice versa) and most certainly not going along with those cretins and ‘aliens’ who want to ‘lose’ the Mother again or blame Her for our trauma. Look in the mirror for that.

It’s hard, it’s extremely hard being between a rock and a hard place especially watching and knowing others feel the same but whilst being a ‘negative’ person I’ve always managed to surprisingly (to many) stay upbeat too and I’ll keep it that way thank you very damned and divine bloody much. 🙂

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