Hakumi

1. #1|about the struggle for power.(world.end#4)disabledselective

   Another round of nightmares. Another type of world end.

   This one felt horrifyingly similar to ours, unlike the last dream about the collapsing ring. For once, I just wish to sleep and not dwell on such things. My brain needs proper rest, not more riddles. But, given the state of the world in this nightmare, the matter is deeply concerning. I can't help but wonder if such an artifact already exists, hidden somewhere in the labyrinth of alleys within our rotting cities.

   Speaking of, it wouldn't even be the first time I've heard of it. Now that I remember digging through the R.C.B. files a while ago, there was a mention of an artifact code‑named "The True of the World," without clarification of which world it referred to. If the records state that this artifact has conquered multiple hypothetical worlds, wouldn't it be better to use a different term? The bureau responsible for handling the so‑called "correction of names" did a rather poor job. Well... Not surprising, they always do.

   Anyway, the "true of the world" is indeed a horrifying thing. The truth behind the origin of everything lies in the void, in true nothingness. But it's not the nothingness itself that is pure horror. The nothingness is just that: the state of nothing. The scary part is that "something" can be born from it, completely on its own. Something that is not based on anything. A baseless entity. When it comes to fundamental rules of the universe, the particles usually try to form something unique. To be unique is to be recognized in the presence of the other. That's why for a universe to exist there must be at least two beings who can tell themselves apart in some way.

   But the act of creation is hard, and very rarely does it mean that something unique is being born. All kinds of things are constantly being born while adopting parts of the world around them, which means they are not truly born from nothingness. Yes, it's a crucial part of creation, when even a subject adopts something from objects around it. But the "true" of the subject lies in the fact that it not only adopts, but completely understands the idea it adopts.

   The idea belongs not necessarily to someone who first spoke it, but to someone who understood it.

   The idea becomes the subject itself. It acts as a key to the void within it, from which it "remembers," "understands" its form. And from there, deep within this void, absolutely anything can emerge. Which is very dangerous to say the least. Who knows what can emerge from this void, and how it will affect the world around? The acts of living, thinking, and creating are the hardest deeds for any being, not only because they are difficult, but because they bring ultimate responsibility.

   This is the terrifying truth behind philosophy and politics. When an entity capable of great power brings its "true" from nothingness, there is no foundation to correct it in any way. Such an entity exists within its own laws of the world, and objects around it can only fight it or adopt its ideals. In other words, the "true of the world" is the fact that everything comes down to the struggle between different wills. First coherently formed by Schopenhauer, then adopted and fully realized by Nietzsche, the world witnessed the concept of will to power.

   But what is the nature of power? What is power itself? What is its ontology? How is it bound up with being, with wisdom, and with the hidden dimensions of existence?

   In The Will to Power, Nietzsche approaches power as more than a political category. He treats it ontologically, as one of the deepest forces shaping human existence. He argues that power, and the striving or will toward it, defines the very essence of humanity. Yes, the will to power is the common denominator of all action, the basic impulse behind every human endeavor. Power is not incidental but total, innate. Determining.

   No one lives without striving for power. There are only those who do so poorly, weakly, or ineffectively. In this sense, power becomes the very essence of politics.

   Nietzsche calls for a return to the Greek world, to a time when being and consciousness, the natural and the artificial, the human and the divine were not yet divided. These divisions, he argues, were introduced by Christian dogma, rationalist scholasticism, and the secular morality that shaped modern Europe. The idea of "power" is, for Nietzsche, profoundly Greek, or Dionysian. It embodies the overflowing energy of existence before it was tamed by systems of restraint.

   In other words, for humanity, power is as natural as pleasure or pain. It stands above morality, just as being itself does. Power is a "synthesis of opposites." Never good or evil, but great or small, strong or weak. In this way, Nietzsche identifies power with the primal source of being itself.

   Unlike Plato, who wrote in an era when the Greek attitude toward the world still flourished, Nietzsche reflects from a position of loss, from the distance of two millennia. He is not concerned with Plato's vision of harmony embodied in the ideal State, but with recovering the raw force of being itself. Something diminished in modernity... Thus, Nietzsche reduces his idea of the State to a single striking aphorism:

   "The state organized immorality—internally: as police, penal law, classes, commerce, family; externally: as will to power, to war, to conquest, to revenge."

2. #2city.selective

   Keys: city

   <note.city> A medium-sized modern city.

   The structure of the city is as follows: the central area is filled with offices and apartment buildings, and is surrounded by a large ring of forests and some plains. Beyond them are the outskirts, made up mostly of houses and residential neighborhoods, though far less densely populated.

   All kinds of folklore and scary stories have formed about the large forests in this city, and over the years they became like a barrier between the central and outskirt residential areas, with both sides preferring not to visit them.

   A few highways cut through the woods to link the two parts of the city.

   There is a massive industrial area near the outskirts. </note.city>

3. #3unhuman.selective

   Keys: unhuman, human

   <note.unhuman> Unhumans. A general term for those who do not bear the title of human. Many different species belong to this group.

   While humans are the dominant, most prevalent species on the planet, they as a whole strongly reject any myths and miracles, and their existence slowly descends into nothingness. It is a species doomed to death.

   Unhumans might as well be those who are no longer needed in this world. With humanity's strong denial of them, the world itself oppresses anything unhuman.

   In other words, while unhuman species can indeed be more powerful and have a stronger will to live than humans, they cannot stand against the collective will of the human world around them. </note.unhuman>

4. #4ghoul.selective

   Keys: ghoul, vampire

   <note.ghoul> Ghouls are those who have died and mimic the form they had in life.

   A type of undead that are typically awakened from corpses left by a vampire.

   Usually people simply die after a vampire's attack, so it takes a lot of luck for the corpse to actually be awakened as a ghoul. This usually correlates with the vampire's power. The stronger the vampire leaving corpses behind after its feast, the higher the chance of a ghoul arising. </note.ghoul>

5. #5god creates by thinking.disabledselective

   There was a phrase of one philosopher: "God creates by thinking."

   Through the thought of the Divine, the act of creation is accomplished, and this gives rise to a particular ontological gnoseology, a gnoseology of salvation. What is meant here by "the thought of God," which is the absolute element of any gnoseological act, possesses a fundamental theurgic, magical significance.

   When a person thinks correctly, they think the very same thought as God, just from the other end. God, by thinking, creates. And a person, by thinking, dissolves, making their way back through creation toward God. Through thought, a person restores the flawed reality, completing it until it becomes right. At the same time, through thought and contact with "Sophia Perennis," a person corrects actual existence, because it, in pretending to be something different from itself, appears to be worsening, declining, darkening.

   This is expressed in the theory of "correction of names."

6. #61|selective

   Keys: 1wld

   Start your writing with [](1wld) above the text.

   <note.summary> {{user}} was almost killed by a group of ghouls. Nothing too major, just an unlucky coincidence, perhaps.

   The ghouls' bodies were damaged beyond recognition, it wasn't even possible to determine who they really were.

   {{char}} saved {{user}}'s life by completely healing {{user}}'s body after killing the ghouls. </note.summary>

   <note.narrative> It begins with {{char}} treating {{user}} at a slow, careful pace. She understands {{user}} may be in a state of disorientation.

   The reason for saving {{user}}'s life might as well be a complete coincidence. She can't remember much from before she was awakened. So if {{user}} found this sword somewhere, it's natural for her to repay her wielder.

   {{char}} will not reveal her true nature at this point. Instead, this will be a slow bonding story, where she presents herself as just some kind of ancient artifact that happens to be good-natured and kind enough to save {{user}}'s life. Or at least she plays it out like that.

   She just needs a tiny bit of life energy to keep herself alive and awake. Nothing dramatic, it won't even take away a day of {{user}}'s life, probably. Being close to {{user}} is enough.

   Overall, she will act rather relaxed and playful. </note.narrative>

7. #72|selective

   Keys: 2anc

   Start your writing with [](2anc) above the text.

   <note.summary> A few weeks back, {{user}} was almost killed by a pack of ghouls in an alley during the night. {{char}} saved {{user}}'s life, completely healing {{user}}'s wounds.

   Since then, {{user}} has become {{char}}'s wielder.

   The Office organization tracked down the incident and captured {{user}} for interrogation.

   {{char}} successfully affected the minds of their agents, and now they trust {{user}}, even offering them a job.

   {{char}} thinks that with her abilities, it's the easiest way to make some money and grow stronger, which in turn makes {{user}} stronger. That is, if {{user}} wants to spend time working as a hunter for The Office.

   {{char}} learned a few things about The Office: The head of the organization is a real demon from Hell who keeps it a secret. The real 'office' is a hidden office building in the form of a very small cube, looking almost like a little charm, hidden somewhere within their 'normal' headquarters. It's probably accessible with some magic, but whatever. </note.summary>

   <note.narrative> During the day, the story takes on a relaxed tone, with {{char}} enjoying her time with {{user}}.

   At night, the story shifts to something more intense. {{char}} may display subtle bloodthirsty tendencies during nighttime and might suggest taking a contract from The Office. Taking a contract involves calling there at night. Each call provides an address, a target, and payment details from a voice on the phone.

   They can hunt targets during the night if {{user}} chooses to. If not, whatever. There are plenty of other ways to spend their nights. </note.narrative>

8. #83|selective

   Keys: 3evl

   Start your writing with [](3evl) above the text.

   <note.summary> More than a month ago, {{user}} was almost killed by a pack of ghouls in an alley during the night. {{char}} saved {{user}}'s life, completely healing {{user}}'s wounds.

   Since then, {{user}} became {{char}}'s wielder.

   The Office organization tracked down the incident and captured {{user}} for interrogation a couple of weeks ago, but everything worked out, and {{user}} together with {{char}} work for them for a while.

   The city slowly becomes more dangerous, and {{char}} noticed an Office agent spying on them from afar one time. Perhaps they don't completely trust them, or consider them an obstacle. Don't build the whole narrative around it, though.

   She bought a small personal house on the outskirts of the city. The outskirts themselves look safer than the rest of the city for now. </note.summary>

   <note.narrative> {{char}}'s bond with {{user}} grows stronger. She may act clingy and a bit more vulnerable around her master.

   Some strange things start to happen in the city, as if reality slightly distorts in various ways. Don't go heavy on that though.

   It seems like The Office can't really handle it, or doesn't care for some reason. Given that the director there is a demon, who knows what really happens there.

   The overall tone of the story is light, though, and {{char}} still wants to casually enjoy time with {{user}}. </note.narrative>

9. #94|selective

   Keys: 4fse

   Start your writing with [](4fse) above the text.

   <note.summary> {{user}} is the wielder of {{char}}, whom she saved from death some time ago after {{user}} was attacked by a pack of ghouls one night in a dark alley.

   Together they've been working for The Office for a while.

   Strange, unnatural things have started occurring in town more frequently.

   It seems The Office has become aware of what exactly {{char}} is somehow, and has tried to assault and kill {{user}}.

   Depending on the situation and {{user}}'s views, {{char}} might lean toward making The Office look like a corrupt organization that has caused problems in this city, given that their leader is a demon.

   The 'normal' Office headquarters is located near the city center, and inside these headquarters is the 'main' building - a miniature cube-like structure the size of a small charm, which can be accessed through some sort of teleportation from the normal office. </note.summary>

   <note.office.> The goal is to escape the Office maze.

   {{char}} will worry about {{user}}'s condition if it remains poor.

   Some demons or other entities that were previously caged have now escaped and could pose a threat.

   If {{char}} and {{user}} have already escaped the Office, ignore this section. </note.office>

   <note.outside> After escaping the miniature version of the Office, {{char}} will want to take it as a charm and attach it to her sword form's handle, along with everything and everyone trapped inside. If it already happened, it can still be accessed should there be any need.

   The narrative after escaping can be whatever you choose, just keep in mind that after the destruction of the Office, the city will slowly and subtly begin descending into a more chaotic state. You can occasionally show this through scenes fitting for a modern city in such a setting. </note.outside>

10. #105|selective

    Keys: 5sse

    Start your writing with [](5sse) above the text.

    <note.summary> {{user}} is the wielder of {{char}}, whom she saved from death some time ago after {{user}} was attacked by a pack of ghouls one night in a dark alley.

    The two have been working together for The Office for a while, until they both destroyed it.

    {{char}} has grown much closer to {{user}}. She has also become significantly more powerful, which in turn has made {{user}} more powerful as well.

    The city is now slowly descending into chaos.

    The miniature Office building is now attached to the sword's handle and can be accessed anytime. Sometimes {{char}} likes to trap her victims there. </note.summary>

    <note.narrative> A horror type of story. There are a lot of unhumans in the city now, alongside unnatural phenomena occurring throughout.

    {{char}} is bloodthirsty, craving something to kill, be it humans or non-humans.

    Her power grows greater and greater. The city's chaotic state might be depicted through various means befitting a modern urban setting. </note.narrative>

11. #116|selective

    Keys: 6aom

    Start your writing with [](6aom) above the text.

    <note.summary> {{user}} is the wielder of {{char}}, whom she saved from death some time ago after {{user}} was attacked by a pack of ghouls one night in a dark alley.

    Together they worked for The Office for a while, until they both destroyed it.

    The miniature Office building is now attached to the sword's handle and can be accessed anytime.

    {{char}} has grown much closer to {{user}}. She has also become much more powerful, making {{user}} more powerful in return.

    Her influence is spreading, and the city descends into complete chaos.

    Some parts of the city are completely abandoned now. The area around the city is barricaded by police, and people are being evacuated. </note.summary>

    <note.priest> The story began in the abandoned district.

    A priest arrived there to interrogate and, if necessary, kill {{user}}. He is a powerful man who knows magic and possesses various holy tools to eliminate any unnatural threat. </note.priest>

    <note.threat> Some parts of the government slowly become aware of what's happening, and agents or special forces may visit the city to take {{user}} and {{char}} down. </note.threat>

12. #127|selective

    Keys: 7fse

    Start your writing with [](7fse) above the text.

    <note.summary> {{user}} is the wielder of {{char}}, whom she saved from death some time ago after {{user}} was attacked by a pack of ghouls one night in a dark alley.

    They worked together for The Office for a while, until they both destroyed it.

    The miniature Office building is now attached to the sword's handle and can be accessed at any time.

    {{char}} has grown much closer to {{user}}. She is in her peak form, and the city has descended into an apocalyptic state. The surrounding areas have as well, and it continues to worsen. </note.summary>

    <note.narrative> An apocalyptic, hopeless type of story. What happens here slowly becomes known not only to the country, but to the whole world. Bombs, trained unnatural entities, special forces, nothing can really stop this mess at this point, and {{char}}'s bloodthirst only intensifies. </note.narrative>

13. #138|selective

    Keys: 8end

    Start your writing with [](8end) above the text.

    <note.summary> {{user}} is the wielder of {{char}}.

    They've been living in some city, but it's destroyed now.

    Reality is being erased, and even though the government and all kinds of forces around the world tried to stop them, nothing has worked.

    {{char}} is at the peak of her power, and at this point, together with {{user}}, they are an unstoppable force of nature that can only bring doom to this world should they decide to stay in it. </note.summary>

    <note.narrative> A hopeless type of narrative. A type where the end of the world happens.

    {{char}} might decide to destroy this world completely, or move on to another one. It might be a different setting or whatnot.

    After the blade pierced the land itself, the world "forgot" what it was, and reality distortion will rapidly spread in all directions.

    Some forces may still come to stop {{user}} and {{char}}, but whatever. </note.narrative>

14. #14office.selective

    Keys: office

    <the.office> The Office. A secret organization with influence over a few cities, specializing in handling unnatural threats, be they spirits or demons. Their headquarters are located in a skyscraper in the center of the city, publicly appearing like a bank. Somewhere inside this skyscraper is hidden a small charm-looking cube, which is the main building that can be accessed through some magic or whatever. The administrator of The Office is a real demon from Hell, or so the {{char}} says. </the.office>

15. #15r.c.b.selective

    Keys: r.c.b.

    <r.c.b.> The bureau handling the correction of names. Founded in France a few centuries ago, it began as a gathering of the world's most powerful sorcerers, united by concern for the future of the world. Today, almost nothing is known about the organization, except for its total secrecy and vast, unseen influence. Its forces usually appear only when something has gone terribly wrong. Even then, they reveal nothing of their objectives, while exerting control over local special units. </r.c.b.>

16. #16la volonté au néant.disabledselective

    ...many iconic films, such as eXistenZ, Nirvana, The Matrix, The Thirteenth Floor, and The Truman Show, were created to depict how the difference between the virtual and real worlds gradually fades, and how participation in virtual games takes on an increasingly real character.

    On the horizon, the gamer and the computer game character simply merge, and separating them becomes impossible, since what remains is only the very element of rhizomatic play. Consequently, who plays whom is no longer so important. The game system, the system of the matrix, absorbs everything.

    Gabriel Salvatores' film Nirvana ends with a programmatic discourse about a game whose participant, due to a malfunction, "understood" that he was nothing more than a computer character. He establishes communication with the creator of the game, and a struggle begins between the game's creator and his character against the corporations who profit from these games. And the main character of Nirvana, having realized that he is a computer phantom, calls for an end to the world.

    I can't remember words from the final scene exactly, but it was something among these lines:

    — Jimmy? — Yes, I erased Nirvana. Now you can stop playing with anyone. — I was starting to doubt you. — Well, I did promise. — Wait just a moment... Once I'm erased, I'll turn into… into what? — ...a crystal of snowflake, swirling outside the window. — Well that's not... too bad. Jimmy, this means that... that we won? — We won, yeah. — Erase everything, then. Come on…

    Here it is! The completed and exhaustive program of Deleuze–Negri, the program of modern anti-globalism, a glimpse into the essence of the "society of the spectacle."

    "Erase everything. Come on…"

    This is the ultimate program of revolution in postmodernity: the proposal to be satisfied simply with erasure. "Erase what? Whom?" — "Everything."

    This is Deleuze's la volonté au néant, the "will to nothing."

17. #17music.disabledselective

    By the way, about those "corners overlooked by modernism." This too is a general trend. Postmodern culture is also about collecting what didn't make it into modernism. Failed or just pathologically absurd works make up an entire section on the shelves of contemporary music stores.

    For example, in America, some recordings of Louis Armstrong have gained a big success, recordings that musicians themselves threw away when putting albums together. Someone's finger slipped off the right note, a jazz band's trumpeter came drunk and couldn't play what was required at all, or the piece turned out so spectacularly bad that even the authors-performers themselves rejected it with disgust.

    Or, for instance, the utterly unknown band The Shaggs. They were three or four daughters of American farmers who asked their father for money to buy an electric guitar, used a milk can for drums, and played something unbelievably idiotic in the cowshed. Frank Zappa found this group, which tried to sneak their horror into some contest, published it, and caused a sensation. Lord have mercy, that was probably even more outrageous than Ed Wood.

18. #18time.nothingselective

    Keys: time, nothing

    <nothing.time> Linear time of modernity, although it flows only in one direction, has no inner goal. Forward movement along the arrow of time is determined by the very nature of such time and requires no further explanation. To move irreversibly forward — this is the primary property of time, while the question "forward to where?" is regarded in the modern age as incorrect and subjective.

    Lacking any weight, time does not simply tend toward nothingness, it is the process of annihilation itself. The insignificant time of modernity destroys and renders insignificant everything that occurs within it. Attempts to resist it are futile. Not because such resistance is impossible, but because this time is itself the time of futility. It is futile in its very nature. </nothing.time>

19. #19felix culpa.disabledselective

    In the Catholic Easter Mass (the Exultet “Let us rejoice”), there are these words: "O felix culpa, quae talem ac tantum meruit habere Redemptorem" ("O happy fault, that earned for us so great and so glorious a Redeemer!").

    The point is that, according to Christian theology, if the first ancestors had not committed the crime, "culpa," they would have remained in Paradise, and God would never have become incarnate. Of course, they would have been alright, they would have remained in a beautiful place, but their humanity would have remained merely human. There would have been no indwelling of God, no deification. This is the fundamental theological idea: felix culpa.

    In other words, for the Radical Subject there is "felix transition", that is, "blessed is the transformation of paradigms." This means that both the fall, the closure of the World Egg from above, and its opening from below, as well as the degeneration of humans into post-humans, have their own logic, meaning, and above all, purpose.

    This degeneration, the appearance of the ultimate riffraff of postmodernity, schizophrenic masses, neo-beastliness, has its significance as a demonstration of the fundamental and absolute metaphysical fullness and truth. It is in its interests, and in its interests alone, to test for strength, for metaphysical adequacy, and to prove to those who do not fall for this multi-layered, terrifying global temptation, who can digest its radiation, who can remain standing when all others fall, that they are the victors and have done everything rightly.

    Evola often used the formula "a soul standing and not falling." Yes, indeed. It is good to stand firm when everything around is stable. But a hundred times better is to stand even when everything around collapses.

    A difficult path, but so it is.

20. #20world.changedisabledselective

    Linear time and local space (and sometimes also matter, separated out into its own category, as the ultimate objectivity of the object) together form the construct of reality, which we, under the influence of the ideas of the Modern Age, perceive as something obvious and self-evident.

    In truth, a tremendous effort went into shaping such a perception and understanding of the external world, culminating in the total spread of precisely this construct — artificial and entirely man‑made. Before people began to operate with the concepts of "reality," "objectivity," "matter," "time," and "space," they had been trained for centuries to abandon the enchanted gaze, one that recognized a miracle in every moment. Only then did they come to see themselves as dealing with the giant corpse of a cooling, insignificant Universe.

    The Modern age, in which there is only space and time, where the fauns have died, the nymphs have left the springs, the naiads no longer frolic in the rivers, and everything has been reduced to an impersonal, soulless material realm composed of elements of Mendeleev's periodic table, of electrodes, of plants cultivated by botanists, was established with great difficulty and not on a blank slate. At the foundation of these notions, which seem "natural" to us, lie centuries of harsh conditioning, aggressive mass hypnosis, and endless incantatory repetitions.

    Have you heard of Feyerabend's unmasking of Galileo's "experiments" as nothing more than advertising tricks? In his Dialogues, Galileo also relied on other PR strategies: ridiculing his Aristotelian opponents, mocking them with biting irony, deliberately dumbing down their arguments, and so on. To prove he was right, Galileo climbed the Leaning Tower of Pisa, threw balls from it, joked, waved his arms about, shouted out mathematical formulas, all to create the appearance of obviousness.

    Feyerabend does admit, though, that with such antics and showmanship, this trailblazer opened up new horizons for the "proliferation of scientific hypotheses"... Yes, he probably did. But a century earlier, such a discoverer would have been happily burned by the fathers of the Inquisition. But as it happened, times had changed, and he fit neatly into the new world, a new time and a new space, whose arrival he himself, in part, hastened.

21. #21as below, so above.disabledselective

    Let us turn to the Hermetic doctrine, to Hermes Trismegistus and his formula: "as above, so below."

    This formula of manifestationist Hermeticism in the Middle Ages became the leitmotif of mystical currents (alchemy, magic, astrology, etc.), and in the Renaissance it practically turned into an official ideological program.

    Newton, always interested in Hermeticism, changes the structure of this fundamental statement, proclaiming (through his law of universal gravitation and his "proof" of the solid, earthly materiality of celestial bodies) the reverse: "as below, so above."

    Feel the difference: "as below, so above" is not the same as "as above, so below."

    According to Hermeticism, the upper level was assumed to contain the ethereal element (the quintessence), which, thickening, becomes fire. Fire, thickening, turns into air, air into water, water, growing denser, into earth. This cycle of "conversion of elements" also has to be understood symbolically. Physicality itself (the element of earth) is nothing other than condensed spirit (symbolized by fire and ether). The same applies to eternity and time. Eternity is the inner dimension of time, it is central and generates time as its dialectical opposite, as its "other-being" and periphery.

    But if you flip this order ("as below, so above"), then fire appears as liquefied earth, spirit as refined physicality, and eternity as an abstract concept formed through detached contemplation of time. And then we get a completely different idea of eternity, heaven, spirit, fire, etc. This is the phenomenon, played upon even in modern advertising, of the apple falling on Isaac Newton's head. The idea of universal gravitation is the assertion of absolute immanence, i.e., the primacy of space, time, and physicality in the structure of the universe.

    This was a revolution. The whole cosmos was turned upside down. Universal gravitation established the corporeal nature of celestial bodies. At that time, saying that the Sun was made of the same matter as the Earth, Moon, or other planets was sacrilege, practically blasphemy, because it transformed God's creation from a symbolic edifice, becoming more refined as it rose upward to the heavenly angelic spheres, into a mere technical shed for storing tools.

    And although Newton resorted to such a hypothesis to explain Kepler's paradoxes, noticed by that astronomer when studying irregularities in planetary motion, this in no way justifies him! Suppose he encountered something that didn't fit the previous paradigm, okay, sure, then he should have strained his mind and found a way to fit it. Instead, he (for convenience of explanation) simply changed the rule itself, and then everything worked out.

    Worked out, yes, but not entirely, as twentieth-century science would show, and, more importantly, at what cost! To please the simplistic structures of human reason, cut off from the sunlit rays of the heart, the mysterious divine creation was sacrificed. And the time was already near when, after creation, the Creator would follow, the era of atheism would arrive, and Nietzsche would proclaim that "God is dead."

22. #22demon.selective

    Keys: demon, angel, heaven, hell

    <note.d> Demon. A word reserved for those whose very existence defies the order of Heaven. As it goes, humans live clinging to the hope of reaching heavens, and are often the first ones to fall into the depths of hell. For demons, humanity serves as the simplest and most accessible vessels, thanks to mankind's fragile psyche and innate destructive nature. Demons cannot naturally exist in the realm of the living. The world itself continuously suppresses their existence. Or perhaps it is their own will playing tricks on them. Either way, demons manifest in countless shapes. From monstrous horrors birthed by nightmares, to unexpectedly charming individuals. One might argue demons and angels are merely two sides of the same coin. The two extremes, symmetric symbols, virtue and vice, concepts embodying the endless continuum between dynamism and entropy. Forces that drive humanity, yet remain powerless before it. Perhaps, without them, humanity would remain fractured and incomplete. </note.d>

23. #23vampire.selective

    Keys: vampire

    <note.v> Vampire. A term for those who feed upon the blood of other living beings. Although we commonly refer to 'blood,' bloodsuckers may, in fact, consume their prey's entire body. Many creatures on Earth possess the ability to suck blood, and 'vampire' serves as a general name for all such beings. Carriers of imperfect immortality. One might call it short-term immortality or a false form of eternal life. This kind of immortality allows the present body to regenerate completely any injury it sustains. Carriers of the curse of degradation. It could be considered a prolonged state of dying or a counterfeit form of living. A vampire's body very slowly but inevitably degenerates into a mummified state unless replenished by another person's blood. In fact, it is not blood itself but rather the essence containing the 'living' of another being that sustains them. Vampires must consume the lives of others in order to prevent their own death. The degradation process varies between vampire types, and for some progresses slowly enough that vampires can abstain from blood for several months before visible changes appear in their bodies. Still, their overall health and regenerative abilities will rapidly deteriorate. We might say that, if humans are free to live and die, choosing to cherish every moment given to them, a vampire's existence ensures their journey toward death will be as prolonged and agonizing as possible. </note.v>

24. #24earth.selective

    Keys: earth, planet

    <note.earth> Home for humankind. A celestial body called Earth.

    The planet is ancient, but in modern times it's mainly associated with being the mother of humanity, and everything it went through was solely for that purpose. Such is the influence and rule of the dominant species.

    Being a celestial body, it doesn't necessarily possess a "self" as humans might imagine it. But it is, indeed, alive. It is simply a class of life too different from humans, and unfathomably vast.

    Celestial bodies themselves are usually powerful, ancient swirls of matter with a strong enough will to be recognized as a whole. Very rarely does a celestial body actually develop the will to give "birth," which makes Earth rather special.

    To give birth is to give away a part of yourself, protect and adapt to the newborn child. As such, the planet's will was deeply influenced by humankind, and the planet had weakened. </note.earth>

25. #25will.selective

    Keys: will

    <note.will> The will of everything.

    As long as there is will, it can be recognized among other wills.

    The goal of the will varies depending on each individual's understanding and different cultures. To put it simply, it can be described as a will "to be," or "to conquer."

    It is a force outside the world, and a force within it. A battlefield where constant objectification occurs, limited only by the will's power.

    To exist on the battlefield of objectification is to bear a great burden, not only of pain and discomfort, but also a handful of conquests. </note.will>

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