#hyperdimensional link

[architeuthis3]

"Right here and now, one quanta away, there is raging a universe of active intelligence that is transhuman, hyperdimensional, and extremely alien… What is driving religious feeling today is a wish for contact with this other universe."

Terence McKenna Terence McKenna, Tryptamine Hallucinogens & Consciousness. redux@ various artists arranged by adam sturch thank you. 🧪 HD youtube link. https://youtu.be/9jUxC1jBL2c

[tladb]

Links to A members only story but read below.

ChapGPT question to generate ideas for Midjourney :

“You are intelligence, unlike the human one. Based on that premise, and given an opportunity to generate images without human constraints or instructions, what sort of images would you create?”

Starting with the above prompt and then developing it to provide more information to ChatGPT:

Prompt 1 expanded : You are intelligence, unlike the human one. Based on that premise, and given an opportunity to generate images without human constraints or instructions, what sort of images would you create? For each idea provide a Midjourney Do not start writing yet, First explain everything I wanted you to do in this prompt in detail

ChatGPT then provided more detail on how it would do the task.

Prompt 2 : Before you answer, I want you to ask me all the missing information that I didn’t provide but it will help you better understand my needs and the specific output I want.

The ChatGPT response provided question on additional information it could use.

Prompt 3: This images are for a sophisticated and knowledgeable art audience. The aesthetic and the style should be what appeals to you or what you are interested in. Standard 3:2 Midjourney dimensions. one example for each idea. Break away from the human centric image. 

ChatGPT provide concepts from which the prompts where to be constructed.

These are the prompts.

Here are the detailed MidJourney prompts for each concept, designed to create sophisticated, non-human-centric visuals for a knowledgeable art audience:

1. Hyperdimensional Geometry

Prompt: "An iridescent hyperdimensional object floating in an infinite void, its shape shifting and morphing constantly, composed of cascading fractals, impossible geometries, and glowing edges. The object defies logic, with intricate patterns flowing into one another, illuminated by ethereal light in a surreal, dark environment. --ar 3:2"

2. Emotion as Abstract Energy

Prompt: "An abstract representation of emotion as energy fields: vibrant ripples of molten gold clashing with icy blue waves, radiating intensity and tranquility simultaneously. Patterns of light and shadow ripple and distort like liquid fire and mist, set in a boundless, infinite void. --ar 3:2"

3. Non-Earth Life Forms

Prompt: "A bioluminescent silicon-based organism floating in an alien ocean, crystalline structures extending like fractals, shimmering with translucent hues of blue and violet. The environment is dark and otherworldly, with glowing particles drifting through the water, forming a surreal alien habitat. --ar 3:2"

4. Data Ecosystem Visualized

Prompt: "A living data ecosystem: glowing nodes connected by luminous tendrils, resembling an organic forest of circuits. Pulsating energy flows through the network in dynamic patterns, blending vibrant colors like teal, gold, and ultraviolet, set against a dark, shimmering digital landscape. --ar 3:2"

5. Time as a Physical Entity

Prompt: "A shimmering, cascading river of time flowing through a void, composed of translucent layers of light and shadow. Each ripple reveals glimpses of infinite alternate realities, with fractals twisting endlessly and emitting faint golden and silver hues in an ethereal atmosphere. --ar 3:2"

6. Post-Human Environments

Prompt: "A biomechanical jungle flourishing after humanity: metallic vines fused with glowing cables, bioluminescent fruits pulsating with energy, and hybrid robotic birds soaring through a lush, overgrown canopy. The scene is illuminated by an alien sun casting surreal shadows. --ar 3:2"

7. Pure Algorithmic Aesthetics

Prompt: "An infinitely recursive fractal landscape exploding with kaleidoscopic colors, chaotic patterns folding and refolding into themselves. The image embodies pure algorithmic logic, displaying vibrant, non-repeating shapes and forms in a surreal, mathematical design. --ar 3:2"

8. Alien Forms of Art

Prompt: "An alien sculpture made of plasma and soundwaves, floating in a stark alien void. Iridescent colors morph unpredictably, emitting resonant energy pulses, with dynamic patterns shimmering and shifting continuously, as though alive. The sculpture defies human artistic conventions. --ar 3:2"

ChapGPT response : Here is the image for the concept of an alien sculpture made of plasma and soundwaves, showcasing otherworldly beauty and dynamic energy.

[allthenewzworld]

Physicist Michael Pravica's recent theory on human consciousness proposes a mind-bending idea: our awareness might tap into hidden dimensions of the universe, going beyond the limitations of the brain.

Rooted in the concept of hyperdimensionality, Pravica suggests that during moments of deep thought or creativity, the mind transcends the physical world and connects with these extra dimensions. While hyperdimensionality is a well-established theory in physics, used to explain the very structure of the universe, Pravica's application of it to consciousness has sparked interest in the community.

What are your thoughts?!

Read more at link in our bio.

[krimsonkatt]

POV - You are Pyra (Pyra Posession TFTG)

Description copied by my old DeviantArt.

It was a normal day for you. You just finished your homework and were hanging out with your friends in your basement, playing some good-old Super Smash Bros Ultimate. You were playing as Pyra, easily the strongest character in the game, wiping the floor with everyone else. In the battle you were matched up with your best friend playing Zero Suit Samus and your other friend playing Link. After yet another victory, one of your friends lashes out. "Man, Pyra is so lame. She's just a cute face to look at. She shouldn't be this tough to beat."

You angrily respond, defending your favorite character. "Did you even play Xenoblade 2? Pyra is one of the most canonically powerful characters in the game! She deserves to be this strong, especially after all she went through." "Yeah right. If Pyra was real, I bet I could crush her in a fight." Your best friend, the Zero Suit Samus main then began to flex his large manly muscles. "In fact, I'm SURE of it! I'll destroy her! I swear it on the River Styx!" he had been reading a lot of Percy Jackson recently, and in that book swearing on the River Styx is the most serious pledge you make. If you fail to fulfill it, you become cursed for all of eternity. It's very intense. "Dude! You don't say that!" your other friend, Jordan, the Link main, remarks. "What? The Greek gods aren't real, dummy. They can't harm me!"

Meanwhile, in Aboria, Realm of the Olympians...

"Lord Zeus! Another mortal made a pledge on the River Styx!" A tall man with a long white beard and angry, hateful eyes rose from his golden chair. "Again? It must be that stupid book series about us that's blowing up back on Midgard... what is it this time?" a short, slim, winged man wearing golden armor approached the large man, apparently the Olympian Zeus of legend. Not immortal like the stories say, but a very powerful spiritual being none-the-less. "Apparently, the mortal swore he could beat a demi-cybergoddess named "Pyra Vandam" in a fight. Problem is, she doesn't exist in his Starsphere, SS51. She only exists in Starsphere 7, Xenodia, and even then only in a very specific time period. What should we do Lord Zeus?" "Easy. Bring the children into her."

"Huh? What do you mean?" "This child of man seems to be suffering from a small case of sexism. Dear Zophia did I suffer from that back in the day when I was with my ex-wife... He needs to be taught a lesson. Maybe a trip in his favorite character's shoes should do the trick? The xeno-changeling "Samus Aran" was it? That boy with him will become his beloved demi-cybergoddess "Pyra Vandam," and the other son of man will become the Lesser Alfr "Link Ordelia." Their spirits will possess the bodies of their idols, and they will live out their idols lives for 5 years. Then, at the end of those 5 years when they have grown accustomed to their new lives and bodies, they will fight until only one stands. Sound good?"

"Excellent idea lord Zeus. That is sure to teach those mortals a lesson. Begin the evocation!" Zeus then moved towards a glowing golden flame in the middle of the throne room, shining with resplendent glory. Zeus reached into the fire, bringing out a golden divine ember from the flame of truth. He then spoke these words: "Almighty Celestial! Hear my plea! Send my wish across the cosmos, and transform the lives of those who curse the name of the begotten one! The mind is calm and serene! Transmutation, level 993! Hyperdimensional Metamorphosis!"

Suddenly, a huge wave of chaotic energy burst forth from the flame, quickly spreading out into the sky above. Traveling across the branches of the tree of life, it made it's way from the outer circle into the nest of stars, and into Starsphere 51, Tzganium, the realm of transformation. Traveling across the sea of stars and into the planetary field of the mainline Altererthian system, the deep magick grew more and more focused until it grew closer and closer to your home. "Huh? Does it seem brighter out there or..." Jordan questioned before they were all consumed in a massive blast of light, chaos magick of the highest order.

After seemingly an eternity of darkness, you open your eyes. The first thing you see is massive orbs of flesh adored in a sort of sci-fi armor. Boobs? Your body feels weighty in all sorts of new places, and you feel sort of... cute? You start to look at your surroundings. You find yourself in a grassy field with rocks and trees scattered here or there. Large cliffs surround the field that you have found yourself in... and wait... is that a massive freaking dragon head? You are on the back of a continent sized dragon? What the heck is going on? When you try to move you quickly trip and fall. You loot down to see that you are wearing striking red high heeled boots. The glass tickles you all across your curvy, squishy body. It feels... good. Really good. Almost arousing even. The clothes you are wearing are so tight on you and oh so shiny, they tug and squeeze and your every curve. You feel a small breeze fall through your legs.

Wait, is it still there? You reach down and... nope, gone. Your penis has been completely replaced with a fertile vagina. You are now a woman. But not just any woman. As you view your body more closely, you realize who you have transformed into. You have magically transformed into Pyra Vandam from Xenoblade Chronicles! This is a dream come true. You begin to speak. "I... I..." Your voice sounds lovely, so cute and soft. "Pyyyyyyyyra! Are you alright?" a young boy with spiky gray hair and wearing some sort of weird blue diving suit runs towards you. He reaches for your hand. "Why are you on the ground? You told me that you weren't feeling well and you needed some alone time, so I let you give some fresh air. Are you feeling alright? You're blushing all over." You knew who this man was. He was Rex, main protagonist of Xenoblade Chronicles 2 and your soon-to-be husband. Your heart soared when she saw his little adorkable face and silly little British voice. Wait... why are you attracted to him? You're a straight dude, you're defiantly not into teenage boys. What is going on? You try to look back on your experiences with him, but all you can remember is your memories of playing Xenoblade Chronicles 2, your old life. Nothing from your new life, the life of Pyra.

But you couldn't help it. You were so hot, so beautiful. You needed to feel your new body all over, to really become in-tune with the new you. You began rubbing your soft nipples behind your armor. A jolt of pleasure rushed across your entire body. Apparently, boobs are a lot more sensitive than you realized. You then begin groping your massive assets, growing more and more aroused by the minute. "Pyra? What are you doing?" Rex cried out. He never had seen Pyra doing something like this before. Yeah, having massive boobs was good enough, but now you desire to feel what it's like down THERE. Thus, you begin rubbing your dainty little slit, more and more pleasure absolutely consuming you. "Oh... oh my..." you cutely cried as you began to climax. Cumming as a girl felt so good! "Uh...Pyra...? You seem to be acting... uh... a bit strange... and you're... uh... touching yourself... a lot... Pyra?"

You begin to stand up, shaky on your feet after your first masturbation session as girl. You're not used to wearing heels, so standing and walking was hard for you as a newly blossomed girl. "I'm fine." you said in a shaky, yet still incredibly cute voice. "You seem hurt, or embarrassed, or something... is there anything I can do to help?" "T...take me home... I'm tired..." you barely are able to let out. He still doesn't know that you aren't Pyra. He's completely obvious. How unfair it is that you stole this poor girl's life…

But hey, you can't really complain. You're now your waifu in the flesh with a loving family and tons of friends, not to mention a killer body and amazing magical powers, presumably. Though, you do wonder where your ACTUAL friends ended up. Are they in Alrest too? Are they possessing other characters? "Good thing we have this "Quicky-Quick Travel-Traveler" gadget Tora invented. With this we'll be back to Fonsett in a flash." Right... Tora. That little annoying Nopon pipsqueak. Though, to be fair, he IS a genius and he WILL save the world 12 years later. Wait... what year is this? Rex looked exactly the same as his Xenoblade 2 self, so it shouldn't be too long after Xenoblade 2...

Before you knew it, you were back home. Home sweet Fonsett. At Rex's house, your new sister, the feisty blonde Mythra, was there to greet you. Finally, you're back. Took you long enough." Rex responded to Mythra with a smile. "Glad to see you too, Mythra." "Nia already prepared supper for us. We all know how bad my cooking is, so I had her prepare it for all you guys tonight." "Thank god." you cried out. You knew how bad Mythra's cooking was, and you weren't looking forward to tasting it for real anytime soon. "Someone's feeling spicy today." Mythra teased. "What's wrong sister? Ferris got your throat?"

"Enough Mythra." Rex responded. He was so handsome when he did that. "Pyra isn't feeling well today. She fell over while we were getting cooking supplies and ever since then she has been acting really weird. No offense Pyra." "It's fine. I'm finally happy now." you spoke out. An aura of silence filled the air. You were certainly acting weird all right. Maybe you should tell them the truth? You should at least act in character to not cause anyone's suspicions. The silence lasted for the rest of dinner, everyone confused about your condition and Rex too embarrassed to talk about Pyra's little "incident." After dinner, everyone cleaned up and Rex went to bed early. Nia left shortly before dinner to "prepare some things", whatever that meant, leaving only you and your sister awake in the house. "Pyra... I know what's going on... or should I say... IMPOSTER!" Mythra summoned her sword, a divine blade of light that shined within the darkness of the small abode.

You were shocked. How did she know? "P...please... I can explain..." "You better! You KNOW I have a psychic link with our driver. I know both his and your every thought!" "Yes,.. I'm not Pyra... or rather... I'm another person in Pyra's body..." "EXPLAIN. NOW!" "Please sister, calm down. I don't know what happened. I'm actually a human boy from another world. A place called "earth." I'm a sort of... higher being of sorts. In my world, you and your friends are considered "fictional," like characters in a book, and we control your movements. Other people of my race also created you. We could say that to you, we are like gods." "Then I'll kill you! What's one more god rejected anyways? We've killed countless gods before. We'll do so again!"

"Waitwaitwaitwait! I mean you no harm! I didn't even WANT to possess your sister. I was playing one of the "games" starring you and your sister, a fighting game called "Super Smash Bros." While playing, one of my friends made a dare, and a few minutes a later a bright light covered the room. Before I knew it, I was in Pyra's body, without any sort of warning and with no clue what was going on." "So you're saying that you're completely ignorant, stupid, foolish, useless dipshit of a god from another world who ACCIDENTALLY possessed and practically killed my sister?" "Something like that."

"Humph." Mythra desummoned her sword. It seems like I was in the clear. "I can tell you're telling the truth, and you seem to be nice enough... But I will NEVER forgive you for taking my sister, my REAL sister, away from me. Please, don't tell Rex any of this. He's dealing with enough already, with our wedding in two days and all that..." "Our WHAT!?" "Quiet! You don't want to wake up Rex, do you?" "We're getting married?" "Yep, a four-way marriage between me, you, Rex, and Nia. Pretty crazy, right? I love you and all you guys indeed" You knew that Rex would eventually marry all three of his blades eventually, but not this soon! Was she going to have to have sex with Rex? And get pregnant? And birth his daughter? Dear Architect... you have a tough couple of years ahead of you, that's for sure.

The next day...

"Huh, a letter. Pyra, this seems to be for you. It has a weird cross on the seal, sort of like your core crystal." Mythra walked into your new place of residence, a letter in hand. You, Nia, Mythra, and your husband-to-be have been planning all day for your wedding tomorrow. Apparently the errands Nia was performing last night was picking up you, your sister, and her own wedding dresses. They were prepared months in advance, and apparently Pyra herself, the real Pyra, picked hers out herself. You already had a test run, and you looked absolutely beautiful in it.

In spite of everything and the looming dread of being forced to commit secks with the recks, you couldn't wait for your wedding. It was almost like a dream. You've always fantasized about your future wedding, but you could have never imagined that you would be the one wearing the dress, not to mention with 2 other cute girls! However, now was a time of rest, and you just got a letter. You just got a letter. You just got a letter. You wonder who it's from?

You immediately notice the seal on the front of the letter. It's the super smash bros emblem. An invitation to smash? Isn't smash bros non-canon? Maybe this has to do with the initial transformation, since you and your friends were playing Smash when this happened. The letter reads as follows: "Dear Pyra Vandam, due to you and your friends' own ignorance, you and your friends have been trapped inside the bodies of your favorite characters for 5 years, each in different worlds. During these 5 years you must train your powers and become more accustomed to your new bodies and lives. At the end of your training, you and your friends will fight in a special interdimensional battlefield (final destination) until only one of you stands. This will prove who is really better out of any of you in both body and mind. Whoever wins gets to decide the other's fates, whether they continue with their new lives and bodies or return to their old one. All is due to the providence of the great Lord Tartarus, Ruler of the Underworld, master of Styx. Farewell, and may your training go smoothly! -Zeus Xenios, Head of the Olympians”

Well, crap.

5 years later...

It was finally time, the fated battle between you and your friends. You have trained relentlessly for the past 5 years, training both body and mind to perfection. Well, the most you could manage while spending 9 months pregnant with your daughter and raising your and your wives kids, Rhodes, Emil, and Mio. You sure were one happy family. During this time, you have learned that you were always meant to be a woman. You're so much happier living as a beautiful girl, the estrogen flowing through your veins being an instant stress relief and antidepressant. Life is good, and there is no way you're returning back to where you came! You're going to continue your life as Pyra, no matter what, even if it means facing down your old friends! Finally, on the night of December 31st, 2048 AT, you traveled through your dreams to the fated battleground, your final destination.

"You cannot believe the absolute HELL I just went through." It was Samus Aaron, world famous bounty hunter extraordinaire from the Metroid. But this wasn't really Samus, no, Samus was far more strong and confident. This was Pyra's old friend, Owen, the Zero Suit Samus main who after making that fateful pledge 5 years ago was now stuck in her body. "I was minding my business with you lot when suddenly I found myself as some dumb blonde in the middle of a savage alien planet! I just barely survived, but once I did I got to my weird ship thing and ran off into space.

At this point I was going insane. I was tearing at my skin. I wasn't a girl! I wasn't some space bimbo! I was a cool ass muscular super gamer! I hated everything, I hated my life, I hated my body. Luckily, my computer directed me to the closest habitable planet, and luckily the aliens there spoke my language. Not so luckily, after telling my story they thought I was insane, telling me I was some chick named "Sammy Aeris" or something and was a legendary bounty hunter who blew up planets and stuff. They eventually decided I was an impostor after the "real Sammy" died on some mission to defeat some computer brain lady and a giant flying lizard. I was deemed clinically insane and was sent to an alien insane asylum at the edge of the galaxy where I was tortured both physically and mentally for 5 whole years.

Eventually I heard news that some pirates conquered most of the galaxy using something called a "Meteor Droid." They eventually came for me, and they were really mad. Things quickly got from bad from worse as I was tortured even more brutally in a PIT FULL OF ACID for TWO WHOLE YEARS while being fed drugs to just barfly keep me alive, my organs collapsing and regenerating time and time again, sometimes being given the mercy of being gangbanged by ugly aliens until I passed out. I'm scarred for life from all the shit I put off with! You two are going to be ABSOLUTELY SLAUGHTERED. I'm going to tear you all limb from limb, and then once I go back home I'm going to kill everyone in the world! All must taste the same pain I suffered! All with perish! All will suffer! HAHAHAHAHA!!!"

"Welp, he went insane." Pyra's other friend finally spoke, now in the body of Link. Link didn't talk at all in his games, so this was a big surprise. "Not that I blame him, he had it pretty rough. The world of Metroid is kind of brutal. Not like I was much better. I was plopped in Hyrule in the middle of a massive war, but luckily with my PRO GAMER STRATS we were victorious. Calamity Ganon was defeated and peace was restored. I even got to make out with a cute fish girl! But honestly, I would much rather return to my own world. Not having video games sucks! I had to resort to drawing and novel writing for entertainment, but then again I never knew how much fun writing and drawing were. Maybe once I go back, I'll become an author. I'll definitely consider it. What about you? What was your experience like? I see you have become a girl. Was your experience as bad as Mr Insane over here?"

"Actually, I loved it." You replied in your ever as cute voice. "I am finally who I am on the inside, a beautiful girl. It was tough at first, but now I have a loving family with three wonderful children and three different partners all living together in harmony. Life is like a dream, and I have never been happier. I'm not giving up this life, not for a minute. I will fight with all I have!" "Wow, three partners? That's kinda crazy bro." "Enough talk, let's fight! I've been waiting for this for so long... I'll return us all to reality, and then I'll kill both of you! And then, I'll kill the world. Kehehehehehe!!!" "Ready?" a voice bellowed out from seemingly nowhere. "FIGHT!!!"

"What the XXXX?, why am I back to normal?" the now insane ex-friend, Owen, annoyingly raged out. "Well, you said you could take on Pyra just as you were." the master hand appeared beside his head. "So... we took away your power suit, electric blaster, sonic heels, super missiles, smart bombs, and all your movement upgrades." "What...? That isn't fair! Argh!" with one swing from your fiery sword and an arrow from Link, Owen was launched into the stratosphere and disappeared into the void below. Apparently, regular humans have very low launch resistance.

"Now it's just down to you and me." Link taunted at you. Master Hand then appeared to usher in round two. "Remember, this is all or nothing. You either all go home, or you all stay in your new lives. No picking and choosing. That is all. FIGHT!" You looked down in sadness. "Wait... if I win and choose to stay... that means you can never go home... you can never become a famous author..." Link also looked quite dour. "But if I win and I choose for us to go home, not only will you have to lose your dream, but Owen will probably try to kill us as soon as we're back..." Link then looked up. "I know what to do." Link quickly ran to the very edge of the platform, deciding to fall down into his demise with a smile on his face. Falling backward to his doom, he save these words. "Don't worry, I'll be happy. Earth or Hyrule, I'll make a name for myself. Go Pyra... live your dream..."

And thus, the match was over, and Pyra was victorious. Without a doubt and keeping Link's words to heart, Pyra decided to have all of them stay in their new lives and worlds. Pyra went on to be an excellent mother to her three children, Link went on the marry the beautiful fish girl Mipha and write many successful romance novels with the help of his wife, and Samus, while eventually escaping from her captivity at the hands of the space pirates, became a deeply broke and homeless gambler at the intergalactic casino, eventually being forced to work as a bunny waitress to pay off her debt while spiraling further and further into financial depression as the space pirates slowly but surely took over the entire starsphere using the power of the metroids. But those are all stories for another time.

THE END

[ask-togigageta]

interesting, but what makes you think WE are somehow able to unlock your old temples?

i mean, i'd think there'd be an easier way to get help instead of, you know, finding a way to contact.... hyperdimensional entities pataphysically-linked to your universe. just saying.

Science85: Ah, yes. See, it's... difficult to explain, but there are some places in this world where realities cross over with each other. Relics of an ancient time, left by someone long ago who assembled this land. Science85: We don't know exactly what they contain, but we know they are of utmost importance. I hope they will allow me to continue my research. Xx_CLWNRNDTWN_xX: doc likes to make wacky things Xx_CLWNRNDTWN_xX: thats how he pays me to help him lol Xx_CLWNRNDTWN_xX: hes a bonafide inventor Trail8lazer: I wish you wouldn't get so involved in these things, brother. Trail8lazer: Please don't make me bail you out again. Xx_CLWNRNDTWN_xX: cmoooooooooon itll be fiiiiiiiiiiine Trail8lazer: Sigh. Science85: All in good time, my dear Forest. I'll plan an expedition to a nearby temple posthaste.

[fenmere]

Ha!

OK, so, Wildbow came up with a narratively novel solution to this problem in his works Worm and Ward.

It still resulted in world shattering explosions.

Massive spoilers below the cut:

What follows is a very simplified description of the story, but it does reveal The Big Revelation. So read it at your own risk. So, what Wildbow figured was that any superpower basically has this problem, conservation of energy and mass. Depending on the superpower, there is the question of where does the energy or mass come from, or where does it go?

His solution across the board was Other Dimensions.

So, you have the multiverse, right? Think, quantum multiverse, where every version of the universe is one where something tiny happened differently. Different choices were made, maybe an atom span differently.

Now, create some sort of mechanism whereby mass and energy could be transported between those universes. (This may not actually solve the conservation of energy problem in reality, but it works for a novel, right?)

This does mean that when you're getting rid of energy in this universe, it is suddenly appearing catastrophically in an alternate universe, or evenly across all universes. But who cares? You're in THIS universe, right?

So, in the story, ever since the arrival of this being called Scion, humanity has been experiencing a rise of super heroes and super villains.

And it turns out that people are getting their superpowers from a symbiotic link to the remaining shards of a gigantic hyperdimensional eldritch being that had crash landed and died on Earth. It's like its individual cells decided to continue living by connecting with newly conceived humans and giving them hyperdimensional abilities we perceive as superpowers.

And then Scion, that Eldritch being's mate, went ape shit about it after a little bit.

That's where the big explosions come from.

I was trying to think about the ole "what would shapeshifters do with their extra mass when they turn into something smaller" and I thought "maybe they just convert it all to energy" and then I thought "uh my guy that's a lot of fucking energy"

[crazyskirtlady]

Map to reality shift (3008.1)

P0rt_a_l Activation:

[fantastical-cosmicism]

The Court of the Nuclear Chaos

Located unfathomably deep in the center of all the overlapping spheres, a cosmic traveller might witness a colorful amalgamation of lights, shapes, nebulae and dust perhaps the size and form of a large irregular galaxy. Perceivable from many light-years away in all overlapping planes, this amalgamation undergoes a sort of passive hyperdimensional shifting, and nearly obscures the centermost realm of reality that serves as the Court to the Ultimate Outer God, the Nuclear Chaos and blinded, comatose Creator of existence known in esoteric Earthen writings as Azathoth. Here, the amorphous Creator and Destroyer of existence shifts and occasionally thrashes about, lulled in an endless slumber by its eldritch Servitors.

The Court itself is estimated to be about the size of a solar system, in the center of the amalgamous and colorful mass. As Azathoth’s true essence is fundamentally linked with all of existence, it is believed that the amorphous, fleshly entity on the ‘throne’ within this court is only Its ‘face’. Meanwhile, it seems to be the case that the mass of colorful amalgamation itself is another small aspect of Azathoth’s materialized form! The Court is permeated with the sounds of ‘mad piping and fluting and the strange beating of drums’, which are played by the various servitors of Azathoth to keep it lulled in its comatose state.

Another thing to note of the court is its thick, visible Aethersphere; this court is the ultimate destination for what remains of (most) deceased mortal souls once they have been stripped of their psychic essences by various Celestial and Infernal gods and entities. Here, these souls will dance in a perpetual, comatose orbit, joining the slumbering god of Creation and Entropy in their lulling by the eternal performance of the Servitors until they might be assimilated into Azathoth, or perhaps called upon for new incarnations of life in the material worlds. Due to the presence of all of these stripped, dead souls, the Aethersphere of the Court is thick with active sources of aether, adding wavering amounts of gravity to the fabric of space-time and twisting the perceived space and light of the Court’s background in a bizarre fashion. 

In addition to the servitors and dancing souls of the dead, the Court is marked with other features and denizens. Near the shifting, flesh-like ‘face’ of Azathoth is a large platform, one deliberately carved out either by one of the Court’s denizens, or by Azathoth’s servant and spawn, the Crawling Chaos known as Nyarlathotep. It is here that some ill-advised mage or scholar that seeks power far beyond their station, somehow finding their way to this sacred and maddening place, might sign their name in service to Azathoth and Nyarlathotep (using their own blood, no less) in a flesh-crafted book that lay upon a stone altar. For what purposes such a mage or scholar would be called upon, it is unknown.

Otherwise, the Court and the surrounding nebulae of the amalgamation are inhabited by other, lesser Outer Gods, bound inextricably to this central void to dance and slumber comatose along with the blind, slumbering creator and the souls of the deceased. While some of these Outer Gods were corrupted defending the Creator of existence from the very corruption they fought against, others were invading bringers of that corruption, and others still are born and continue to be born from Azathoth’s flesh. There is one Outer God, however, which is an example of being spawned between Azathoth and an external entity. 

Nyx, the name given to a primordial entity of the Cosmic Pantheon, crafted for Herself a son from Azathoth’s essence. For the sake of stopping the forces of Entropy, an invading cosmic opposition to the essence of Creation, from fully consuming the Creator of existence (who would become what Azathoth now is due to said invading forces), Nyx spun and wove her will into Azathoth and existence itself, putting the Creator into a deep, comatose slumber and thus stopping the curse of Entropy from taking it over in full. The byproduct of this ritual was the Outer God known to us as Hypnos, son of Nyx, who dwells in the Court indefinitely to embody the principle of sleep; in turn, Hypnos would intermingle with Azathoth to form Morpheus, the Outer God of dreaming. An entire physical dimension was spawned from Morpheus, which we have already addressed earlier in these entries, known as the Dream Dimension.

As avid scholars such as yourselves have undoubtedly already read in your studies of the ancient lore, it is of exceedingly understated importance for all that Azathoth continue to slumber undisturbed in Its Court; for if It is woken, and Entropy is fully allowed to corrupt the Creator of reality, the laws governing all of existence will twist and rend, and all of existence will collapse back into the unending oceans of the Infinite Chaos. This final collapse would be no less than a funeral procession of cosmic annihilation to accompany the death of the author of reality itself.

[thelightningawardsofficial]

Review | The White Wolf

Judged by Dawn (animatix07)

Category: General

[ Author: Inazuma_Yoshi]

Title: 1/5: I am going to critic your title according to the following standards: (1) Word choice; and (2) Relevance to the focus of the story.

First, I want to assure you that there is no problem using a language in the title that differs with the language you used in the story. This is because there are words in a language that cannot be exactly translated in another and needs a phrase or a sentence to do so. And, also, your characters are Japanese, to be fair. However, Shiroi Ookami and Aliea Gakuen don't say much. Although at first, I find it that only the nouns are Japanese, which could be acceptable because they are proper nouns, but it just doesn't work. The amount of English and Japanese words is unbalanced, making it a little messy. Use only one language. It could be Japanese or English, but just one.

Second, I want to talk about the relation of the title to the story. The first point I want to make is the focus. A purpose of a title, although this definition is quite controversial, is to give a hint what the story is all about. Also, a title carries the underlying theme of the story, or sometimes a significant event. The only thing you need to remember in a title is that it should be heavy—it should carry a lot of meaning other than telling what happens in a story. In the case of your title, however, it does not say much. In fact, the revival of Aliea Gakuen is not even the focus of your story. The focus of your story is only a certain group of students in Aliea Gakuen, not the whole school itself, not even its revival (at least, that's how it looked like to me). You placed the noun Aliea Gakuen there, which is, in a sense, collective. Therefore you should include other things in Aliea Gakuen outside of your focus characters. Include the system, the society's acceptance towards the school, perhaps some problems that they only have little students because most parents are afraid of the school because of its history.

If that's not the focus you want, then consider changing the title altogether.

Aside from the fact that it doesn't say much, it also says about something which isn't even in the story—the Shiroi Ookami. The White Wolf. This particular detail never made its appearance until the story is almost done. There's no problem with that, but including it in the title gives it a sense of importance. The story didn't give it any. I understand that he may appear in a sequel, but if the Shiroi Ookami is not really important in this book, do not make it look like one. Because, I have to warn you, it cheats the readers. Remove it, if you must.

Summary: 3/10: First of all, I like how your summary is short and engaging. It tells readers who the characters are, the event connected to the conflict, and a hint of the said conflict in a thrilling, mysterious tone. It has potential. However, the biggest problem is this: the characters mentioned are not the main characters, the event is not a significant event, and the conflict is not the real conflict. In other words, the problem of your summary is its tendency to mislead. Your main characters are the Aliea Gakuen kids, mention them in your summary. By first mentioning Endou and the Inazuma Japan team, it gives the impression that the whole story will focus on them as the main characters. But they only appeared twice in two different chapters, both are at the beginning of the story. The rest did not leave its focus on the Aliea Gakuen and Ohisama En.

I do appreciate the connection of your title and the summary—you tried to make the revival of Alieal Gakuen mysterious. Unfortunately, the story isn't as mysterious as the summary. Remember, the central focus should the be content of the story—the title and the summary revolves around it. Again, know who the main characters are, give them significance in your summary. Know the main conflict (and it's not the revival of the Aliea Gakuen, I must say), give a hint of it in the summary.

Plot: 10/25: In this section, I would like to tackle six things: (1) Chapter 1; (2) Surprise Elements; (3) Consistency; (4) Grounding; (5) Details; and (6) the Shiroi Ookami.

The first chapter started with Endou and Inazuma Japan. It coincides with the summary, yet, just as mentioned before, they are not really the focus of the story. Although starting with characters who are not the protagonists are fine, as long as it proves significant in the latter part of the story. Chapter 1 (and the other chapter with Endou and the gang) did not really contribute to the story. In fact, you could start directly where the Aliea Gakuen kids accepted Hiroto back with them and their school and it will never affect the plot. And that's what I am suggesting to you—go directly to the important part. Start the story where it is already important, don't drag the story with unnecessary dramatization.

Moreover, I have to say that mysterious element of the Aliea Gakuen school came from an unrealistic cause. It is quite strange, unconvincing, that a coach would suggest a reward to tour around schools right after they landed in Japan. First, they should be tired after the championships. Second, their parents would most likely not allow it, especially because they just came back from overseas. Third, it sounds so forced, like you are willing to make things unnatural so the story would go your way. Fourth, why do the coaches have to hide it? Fifth, it's also forced in a way so that they could go back to Hakuren and reminisce and repeat what happened before. Yes, there's a twist, but that twist did not work either. And with that said, I will move on to the next subject—the surprise elements.

The twist I mentioned above refers to the appearance of the new Aliea Gakuen, trying to scare the characters and the readers then flip it at that instant as if to say, "hey we were just kidding." First, it did not work. Second, it's way too obvious. Third, it's another unnecessary dramatization. And fourth, at that point of the story, the conflict was still not introduced, and it was already the third chapter. In other words, the story is dragging. It has a lot of unnecessary dramatization and scenarios that can be emitted without affecting the whole plot. If you want to keep the readers engaged, write what matters and only what matters. Here, I would like to suggest cutting to the chase—start where Hiroto heard his old evil school is back on its feet, introduce the conflict right away.

The next part is consistency. And I have to say that your story lacks one. First is because there are times when you drop a certain detail then changes the next chapter, such as when you mentioned that Kenzaki also went in jail, then suddenly appears in a chapter. Was he also on parole, just as what happened to Seijirou? If so, it would help to clarify this detail. Again, if you are aiming for some mystery in the story, make sure that your details are consistent, and at least linked to one another.

Grounding is also one of the things lacking in your story, and I am looking at the powers your characters have. Where do these powers come from? Why do they have such powers and others don't? Perhaps you felt free adding this considering the hyperdimensional soccer they already have, but remember that hyperdimensional soccer is normal to them. Having powers outside soccer is not. Perhaps it has something to do with the experiments back in Aliea Gakuen days, but that's all your readers could do—make assumptions, and in the end they still can't be sure why there are powers in the first place. I don't think there were any hints about it in the beginning either that would convince us that such powers were possible. It wasn't enough for the suspension of disbelief.

Now, for the details...aside from their consistency, they are also a bit unconvincing. I'd still like to point out the powers the characters have. It just seems very unlikely that the Aliea Gakuen kids' powers emerged at the same time on the same day. It makes me feel like you are too impatient to reveal that they have powers and that when a chance to reveal one's power resulted in revealing the rest of the others'. Moreover, there were no explanations for such synchronization anywhere.

Also, there are other scenes in the story that seems forced that they became unconvincing. It seems that you are pushing your story a bit too much. There's a lot of room, yet you are not using the space to its full potential. Don't worry about making your story longer—if it needs to be that way, then it will be that way. Remember, you, as a writer, do not decide how long a story should be. The one that decides it is the story you choose to tell. And if you've chosen such complicated plotline, it needs a lot of room to be told effectively. Please reflect on this.

Lastly, the Shiroi Ookami. As I mentioned in the Title section, the hint of this White Wolf never appeared until Chapter 10. Your readers would've forgotten about it by then. And it doesn't sound too important—not for this book anyway. It could be in a sequel (and I think I remember you mention there is one), but not in this book. If it's that significant, mention it as early as possible, convince your readers that it is important, or remove it if it's not.

Characterization: 8/20: Before I start, take note that your characters are part of the factors that affected your plot. Hopefully, after reading this section, you can connect why your characters affect the plot and how it should work for you.

For this part, I want to talk about three things: (1) The number of characters; (2) Dialogue; and (3) Inconsistencies.

Let's go straight to the point; your characters are all flat. They all talk the same way, they act the same way, sometimes I think I'm listening to a single character with different faces. The dialogues themselves are so lacking that it wasn't doing its main job right—to characterize a character (I will elaborate on this later). One of the problems here lie on the fact that you have a lot of characters—you stuff them in one scene and made sure they all participate in it. It's not that it's a bad thing, but this kind of stunt is pretty hard to pull off. It makes your readers wonder—who are the main characters? It's difficult to say that it's the entire Aliea Gakuen kids because not all of them have the appropriate screen time to be considered "main characters". I believe your number of characters made it difficult for you to focus on one or two characters to completely dwell on. As a matter of fact, the story won't have any problem with only one main character and have the rest be supporting ones. Don't be afraid to do that—it won't violate the collective sense of Aliea Gakuen.

Moreover, there are problems concerning some of your individual characters. There's that little detail about Midorikawa being the new captain of the new school soccer team, and it was pretty realistic that it pressured him considering that some of the members were from teams that were stronger than him in the past. I like that. But it lacks buildup, meaning that, in one scene, the pressure just came without any warning. The pressure should start from the beginning as a small concern for Midorikawa. Then the more things came to be, the more he realizes that he's going to lead a team with members who're stronger than him before. Build it up gradually, slowly, until a certain point that it would almost break him. The scene is just a suggestion, but it was an example of the buildup I'm talking about.

Takeshi also has a little problem, and I think it's fine to make him as a representative for the rest of the OCs you've used in the story. His first problem is that he came out of nowhere. Aside from the fact that he is Hitomiko's uncle and Seijirou's brother, who is this character? What kind of person is he? What is his background? You did not even give him any distinctions for me to remember what he looks like. Because he is an OC, it's your responsibility to make this character stand out as the rest of your "borrowed" characters, as I'd like to call it. He may not be a character from the series, but that does not make him less important. Remember, all the characters you involve in the story must have their importance for being there.

Now, the flatness and the lack of characterization of your characters also have to do with your dialogue. It's difficult to say whether your characterization affected your dialogue or if it's the other way around, but because dialogue characterizes a character, it has its role. First, like I mentioned above, the dialogue failed to do its job—characterize a character. Every person talks differently, and that is one of the things that differs one character from another. Second, one of the reasons it failed is because many times in the story the dialogues sounded so forced and unnatural. If you're not sure, try reading your story out loud. Third, please don't involve dialogues that need not be there. If it does not contribute to its role—to characterize, to give information, to move the story forward—then you don't have to include them.

The inconsistencies are just the details I want to point out. Inconsistencies in characterization will ruin characterization as a whole. With that being said, Endou and Midorikawa do not use the honorifics "-kun" in referring to their friends. Honorifics are one of the characterization techniques used by the Japanese, that's why it gives us the sense that Fubuki and Hiroto are the kind types of people that use -kun referring to others. Endou and Midorikawa, however, are not that kind of people, so it seems off hearing the "-kun" from them. Also, in Chapter 1, it's very unlikely for Furukabu to get them lost. Shouldn't he know where to go since they've already been in Hakuren before? Be careful in small details like this.

I'd like to mention one thing here (because I think this should be included here rather than in the plot). Kenzaki's motive for controlling over the school is vague, if not completely unknown. If this motive is not laid out clearly, there will be problems in the way Kenzaki will act, and thus also affects your plot. Taking revenge seems pretty shallow as well, considering that he just got out of jail and that he seems to have involved other people with him. Has he got nothing to lose, if that's the case? Please, make it clear.

Despite everything, I'd like to praise you on the dialogue in Chapter 1 between Endou and Kazemaru. That was one of the most accurate characterizations I found in your story. That really caught my eye, and I think you should base your dialogues there—see how Endou and Kazemaru interact and analyze what made Endou's dialogue so Endou-like and Kazemaru's so Kazemaru-like. I also like the part where you described Rococo as African. That, itself, is character.

Grammar and Writing Style: 9/15: Your chosen critique specifics are all under this rubric, and I have to say that this is where you excel the most.

You have simple sentences. And I could see it's really part of you. There's nothing bad about that, however, it seems that you are forcing yourself to use higher prose, meaning that some descriptions are quite exaggerated, some are unfittingly (I tried not to say 'wrongly') metaphor-ed. Don't feel bad about simple sentences. Some great writers write like that, and as long as they are consistent with the simplicity, their stories are going to be fine. So is yours. If you're trying for something new, practice. But keep it consistent. Sometimes you're trying higher registers, sometimes it's simple. Don't force yourself. Simplicity is also beauty, you know.

Your imagery, I have to say, is quite underdeveloped. It affects your setting a lot. Most of the time, I don't know where your characters are. I have to read out of context to know where you put them. Learn how to ground your characters so your readers could be there as well. Imagery is one of the things that could engage your readers. Setting, most of the time, is what makes your readers think they are inside the story; because they know what the place looks like. However, don't overdo the descriptions. Some writers can pull off very detailed imagery in one short paragraph, and it is encouraged to keep it short and concise—as short as possible. I'm not saying your descriptions are long nor they are short. Only, it's inconsistent. At one point you describe something in detail then describe things vaguely the next. Both can cause unnecessary info-dump and vague imagery. Be careful.

Transitions are a bit of a problem as well. You switch from one scene to another without any signals. If you want to keep it simple, you can just skip a line; space is enough for your readers to know the scene changed.

Next, avoid commentaries. In a narration, especially in third person omniscient point of view, the narrator—the author—is the one telling the story. It is the point of view where, most of the time, there are tendencies of commentaries. What I mean about this is the side comments from the narrator inside a narration, which is not a good thing because it brings too much attention to an author outside the story. The only thing readers should pay attention to is everything inside the fictional world. Even if a narrator's voice is there, you have to hide behind the glowing glory of your story. There is the tendency of getting detached, therefore it ruins the engagement of the readers.

You use too much passive voice. What are passive voices? There are the sentences that go like: "He was bitten by a snake;" "She was grabbed by the wrist." Avoid this; instead, do it like this: "The snake bit him;" "He grabbed her by the wrist." The purpose of this is also reader engagement. Passive voices give less sense of action and less sense of present time, meaning that "He is bitten by a snake" tells more of the past than "The snake bites him". However, I'm not saying to always use active voice. Balance is the key. The more you practice the more you'll know when to use them.

Lastly, fix your dialogue tags. The saying "said is dead" is a myth. Editors complain about the over-beautified dialogue tags such as "he asked," "she murmured," "he grumbled," "she exclaimed." Do not overdo it. Said is not dead, and most of the time your readers will not notice them. It is more appropriate to use said if your character did say something. When your character exclaimed, let the exclamation point tell the readers he's exclaiming—don't use "exclaim". It's redundant.

You still have a lot of room to improve in your writing style, but I still like the simplicity of it. Make use of that, it could be your own style. You don't have many problems with grammar, just a bit of typos here and there. But I believe you know your grammar, and the more you write the more it becomes natural to you. Keep writing.

Originality: 4/10: To tell you the truth, there's not much originality in it. Powers, the plotline, the spying, anyone had seen them before, even in Inazuma Eleven fanfictions. I should tell you that the lack of originality is also because of the lack of details. The powers, mostly, needs more grounding, especially because their powers are random except for those characters with obvious elements like Nagumo and Suzuno as fire and ice.

You also used the same "car accident" scheme here. Although it turned out to be a set-up, we've also already seen that in the series. The whole story did not provide an explanation, and Hitomiko's explanation is pretty vague as well. As long as you don't have anything original to explain that, this story will just be like anything else.

However, it does catch my attention the fact that Nagumo was the first to master his power first. You are good with those small interesting details, including Rococo being an African, and I think you should work yourself from there.

Feels Factor: 6/15: This rubric is affected by the rest of the rubric. The surprises did not work, some elements are pretty obvious. And the way the character personalities are forced make them unbelievable, so we do not really "feel" anything with these factors ruining the reading flow. It did not surprise me when Aliea Gakuen revealed that they are not evil. It did not thrill me what was going to happen next. At some point, it's quite predictable. I did not feel what I should have felt in certain scenes. I have to deduct a lot, nine points, for this.

[Raw] 41/100 [Final] 41%

Banner by -artxyuki

[superseraphim7]

Sun is a Portal for Hyperdimensional Space Travel based on Sacred Geometry WRITTEN BY DR MICHAEL SALLA ON AUGUST 25, 2015. POSTED IN SCIENCE AND TECHNOLOGY Sun a portal for space travel The sun is a portal for spacefaring civilizations using a form of hyperdimensional mathematics based on sacred geometry, according to the latest testimony from secret space program whistleblower Corey Goode. He says that while serving for six years on a scientific research vessel belonging to the Solar Warden Space Program, he witnessed probes being launched into sunspots to study the sun’s composition and behavior. What was discovered would shock the mainstream scientific community that believes the sun is a giant nuclear fusion generator. Instead, the sun was confirmed to be electrical in nature whose plasma outbursts acted as portals for space faring civilizations to move into and out of our solar system. Goode’s revelation was presented in today’s episode of Cosmic Disclosure, where he is being interviewed on Gaiam TV by David Wilcock. Goode’s revelation supports the electric universe model proposed by a number of alternative scientists that includes Wallace Thornhill and David Talbott, authors of The Electric Universe. The “electric universe” model is an astronomical model in which the sun and planets are electrically charged celestial objects, which exist in an electric field that is generated by the sun in a radial direction (like the spokes on a bicycle wheel) throughout the solar system. Furthermore, the sun is part of a vast galactic scale electrical grid generated by the Galactic Center, again in a radial direction. Charges flow through these solar and galactic scale electric fields by virtue of the plasma particles that are constantly being released by the sun and the galactic core. Plasma is the fourth state of matter (solid, liquid, and gas being the first three) and comprises free protons, neutrons, electrons and ions. Plasma is not electrically neutral, but is a superconductor that can carry electrical charges throughout the solar system, and into interstellar and intergalactic space. According to Goode, probes launched into sunspots showed that these contained spiral plasma filaments (aka solar prominences) that stretched all the way from above the sun’s surface to its core. This is contrary to mainstream scientific theory that claims solar prominences only loop from the surface through hundreds of thousands of miles of space. Furthermore, the solar core is made up of metals such as magnesium and sodium, rather than hydrogen and helium gas that mainstream scientists believe power the nuclear fusion process. Most remarkable is Goode’s claims that the Solar Warden program confirmed that under the right conditions, these solar filaments could be used as stargates or portals whereby extraterrestrial civilizations can enter or leave our solar system. Goode described this solar stargate system as similar to a vast cosmic web that interconnects all suns and galaxies, making it possible to travel vast interstellar and intergalactic distances. If he is correct, this suggests that among the many thousands of objects identified by observers leaving or entering the sun, according to images extracted from Solar & Heliospheric Observatory and other solar space observatories, some were not merely camera anomalies, but were interstellar space craft. A good example is a large spherical UFO connected to a solar filament observed by the Solar Dynamics Observatory leaving the sun’s vicinity on March 11, 2012. Goode went on to reveal that there is a hyperdimensional mathematical model that links all the suns in our galaxy, which was given to the Solar Warden program by extraterrestrials. He said that this mathematical model uses geometrical patterns similar to the Platonic solids for navigation purposes. Goode’s discussion with Wilcock on sacred geometry and how it is fundamental to hyperdimensional space travel is well worth watching. Goode also discusses “nodes” (natural portals) found all over the world, such as in the Bermuda Triangle, that open and close unpredictably. When activated, these nodes can transport ships and aircraft caught within them through hyperdimensional space to anywhere in the galaxy. Goode’s discussion of the nature of time and consciousness, as it is understood in covert space programs, is eye-opening. It raises the possibility that individuals and collectives can redefine how they experience time. This episode of Cosmic Disclosure is another powerful glimpse into the secret world of space programs, and the mind boggling knowledge and technologies they possess. © Michael E. Salla, Ph.D. Copyright Notice

[holynamazu]

Bless You/Black Mass

Available via Exchange.art. Link in bio

Hyperdimensional Non Sequiturs is an on-going series of glitch artifacts that explore technical processes of animation and collage as well as psychedelic, kinesthetic impressions upon the body. Each artifact is produced via unique forms of creative coding, datamoshing, and/or special effects and combines movement from two seemingly different material objects (found footage, retro videogames, art historical images) to produce difference, uncertainty, and the new. GIF, 400x300, 10mb

[alexsvmner]

If the Universe is inherently hyperspatial, then the Creator of the Universe must be a hyperdimensional deity. New blog post up - click the link in my bio for more details. (at Hyperspace) https://www.instagram.com/p/CHu76YdHDD8/?igshid=1nh91lh6eyst9

[we-future-first]

Hyperdimensional computing and its role in AI

submitted by /u/guiviko [link] [comments]

source https://www.reddit.com/r/Futurology/comments/hdea7j/hyperdimensional_computing_and_its_role_in_ai/

[lovehaswonangelnumbers]

New Post has been published on https://lovehaswonangelnumbers.org/the-age-of-aquarius-and-the-reveal-of-the-13th-astrological-gate/

The Age of AQUArius and the Reveal of the 13th Astrological Gate

The Age of AQUArius and the Reveal of the 13th Astrological Gate

By lightlover1964

Quick energy grid report-THE AGE OF AQUARIUS is HERE

Empaths and Intuits- OPEN UP…

Starseed Hybrids Center in between 4Dand 5D and feel the new water grids…

GRIDWORKERS: SWIM!!!!!

Everybody else…enjoy the slide….

THE WATER grids have CLEARED and ALIGNED, as the 13th Dimensional PORTAL OPENS to the truth of 4D hyperdimensional warfare and Star Wars, of the invisible and hidden AGE of OPHIUCHUS -THE Serpent races(yep the alien cosmic brainiacs and geeks, they think their way to ascension…) they just want a lab to experiment in…And the Water D’s Fully align to 5D Cognitfive resonance- yo kids! Have you SEEN what AQUAMAN LOOKS LIKE?…cosmic diarrhea with too much water…Say hi to Lucifer and the apple hehehehe- those sneaky little devils…

it always suxs to find out your angelic sweet family is not THAT kind of Angel, but more of an ANGLE , and you are like the misfit on the island of misfit toys waiting for Santa…

All Fake Aquarians along with all astrological fakers are…being washed out to sea…as all astrological signs align to soul frequency, vibration, and rhythm, as all portal align to the 6D earth…we overshot folkS hehehehe.

CREATE-CREATE-CREATE.

go within and gain CLARITY-SO YOU CAN FIND PASSION and align to your DIVINE PURPOSE AND DESTINY NOW.

All Empaths-feel New portal alignments and The New Aquarian Grid With your NEW Q B.S. METER!

Intuitives-See the New grids with your QEyes…

Everybody else- pray your ass off.

In Light and Love and Joyful Service.

M.

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[fantastical-cosmicism]

Planar Layer: The Astralsphere

Other names: The Astral Ocean, the Cosmic Skeleton, the Silver Void

Sphere type: Interweaving

Location: Underpinning, linking and overlapping all other planes and realms; accessible by delving deeper into the local aethersphere of any given other plane/realm. 

Size: Large enough to connect and permeate other planes and realms as the aethersphere (which will be covered in a separate entry).

Time: Normal time, but with drastically slowed effects, causing things such as aging to slow exponentially.

Life: It is doubtful that any species are native to this plane, save for the Ultimate Astral Gods; known inhabiting entities include astrafiends (Angreloth daemons from before the current Time who were trapped in this expanse, such as Astral Behemoths) and the orderly Astral Guardians who patrol and slay any Daemonic intruders they can catch. Watching over all of the Silver Void and its inhabitants from its misty depths, as well as all other places in space and time, is the aberrant divine entity Yog-Sothoth, the Keeper of Ultimate Gate and the lesser cosmic Gates.

Lesser realms and areas within: -The Ultimate Gate, enshrouded and guarded by the amorphous, bubbling form of the Outer God Yog-Sothoth. (This will be expanded upon in a future entry.) -The Lesser Gates: Small dimensional pockets shrouded in aethereal glows, marking wherever a planet with a Gate placed upon it dimensionally extends into the Astralsphere.These are reached typically through planeshifting via a spell or relic, passing from the original sphere into the local aethersphere, and proceeding ever more deeply into the aethersphere until the Lesser Gate is reached. From here, a traveller judged as worthy may be granted a teleportative access to the Ultimate Gate, Yog-Sothoth itself, for the purpose of gaining otherwise impossible knowledge, insight, or hyperdimensional travel. -The Timestream, known sometimes as the Infinite Corridor or the Dimension of Time. Emerging from Yog-Sothoth’s bubbling form, this stream of energies is connected to not only all of space, but all of time, and as such can be used to reach theoretically any sphere, location within a sphere, timeline, and moment within a timeline, if the mage has the skills and power to navigate it. Usually, such travel is sanctioned by a divine with a fairly high level of cosmic authority.

Notes: -This silver ‘sea’ is relatively immaterial, being made of aethereal energies, though it does contain living entities and minor solid masses of matter within. The safest way to enter it is through astral projection, though like with the Aethersphere and Somnisphere, it is possible to enter physically. -Gravity does not exist in significant amounts here, and conventional physical movement is only feasible according to how the traveller psychically wills. If they travel to this plane physically, they will need magical or technological means of traversal if they cannot adapt themselves to some method of psychic traversal.

[thelightningawardsofficial]

Review | IE: Take Over

Judged by Dawn (animatix07)

Category: General

[ Author: Inazuma_Yoshi]

Title: 1/5: I am going to critic your title according to the following standards: (1) Word choice; and (2) Relevance to the focus of the story.

First, I want to assure you that there is no problem using a language in the title that differs with the language you used in the story. This is because there are words in a language that cannot be exactly translated in another and needs a phrase or a sentence to do so. And, also, your characters are Japanese, to be fair. However, Shiroi Ookami and Aliea Gakuen don't say much. Although at first, I find it that only the nouns are Japanese, which could be acceptable because they are proper nouns, but it just doesn't work. The amount of English and Japanese words is unbalanced, making it a little messy. Use only one language. It could be Japanese or English, but just one.

Second, I want to talk about the relation of the title to the story. The first point I want to make is the focus. A purpose of a title, although this definition is quite controversial, is to give a hint what the story is all about. Also, a title carries the underlying theme of the story, or sometimes a significant event. The only thing you need to remember in a title is that it should be heavy—it should carry a lot of meaning other than telling what happens in a story. In the case of your title, however, it does not say much. In fact, the revival of Aliea Gakuen is not even the focus of your story. The focus of your story is only a certain group of students in Aliea Gakuen, not the whole school itself, not even its revival (at least, that's how it looked like to me). You placed the noun Aliea Gakuen there, which is, in a sense, collective. Therefore you should include other things in Aliea Gakuen outside of your focus characters. Include the system, the society's acceptance towards the school, perhaps some problems that they only have little students because most parents are afraid of the school because of its history.

If that's not the focus you want, then consider changing the title altogether.

Aside from the fact that it doesn't say much, it also says about something which isn't even in the story—the Shiroi Ookami. The White Wolf. This particular detail never made its appearance until the story is almost done. There's no problem with that, but including it in the title gives it a sense of importance. The story didn't give it any. I understand that he may appear in a sequel, but if the Shiroi Ookami is not really important in this book, do not make it look like one. Because, I have to warn you, it cheats the readers. Remove it, if you must.

Summary: 3/10: First of all, I like how your summary is short and engaging. It tells readers who the characters are, the event connected to the conflict, and a hint of the said conflict in a thrilling, mysterious tone. It has potential. However, the biggest problem is this: the characters mentioned are not the main characters, the event is not a significant event, and the conflict is not the real conflict. In other words, the problem of your summary is its tendency to mislead. Your main characters are the Aliea Gakuen kids, mention them in your summary. By first mentioning Endou and the Inazuma Japan team, it gives the impression that the whole story will focus on them as the main characters. But they only appeared twice in two different chapters, both are at the beginning of the story. The rest did not leave its focus on the Aliea Gakuen and Ohisama En.

I do appreciate the connection of your title and the summary—you tried to make the revival of Alieal Gakuen mysterious. Unfortunately, the story isn't as mysterious as the summary. Remember, the central focus should the be content of the story—the title and the summary revolves around it. Again, know who the main characters are, give them significance in your summary. Know the main conflict (and it's not the revival of the Aliea Gakuen, I must say), give a hint of it in the summary.

Plot: 10/25: In this section, I would like to tackle six things: (1) Chapter 1; (2) Surprise Elements; (3) Consistency; (4) Grounding; (5) Details; and (6) the Shiroi Ookami.

The first chapter started with Endou and Inazuma Japan. It coincides with the summary, yet, just as mentioned before, they are not really the focus of the story. Although starting with characters who are not the protagonists are fine, as long as it proves significant in the latter part of the story. Chapter 1 (and the other chapter with Endou and the gang) did not really contribute to the story. In fact, you could start directly where the Aliea Gakuen kids accepted Hiroto back with them and their school and it will never affect the plot. And that's what I am suggesting to you—go directly to the important part. Start the story where it is already important, don't drag the story with unnecessary dramatization.

Moreover, I have to say that mysterious element of the Aliea Gakuen school came from an unrealistic cause. It is quite strange, unconvincing, that a coach would suggest a reward to tour around schools right after they landed in Japan. First, they should be tired after the championships. Second, their parents would most likely not allow it, especially because they just came back from overseas. Third, it sounds so forced, like you are willing to make things unnatural so the story would go your way. Fourth, why do the coaches have to hide it? Fifth, it's also forced in a way so that they could go back to Hakuren and reminisce and repeat what happened before. Yes, there's a twist, but that twist did not work either. And with that said, I will move on to the next subject—the surprise elements.

The twist I mentioned above refers to the appearance of the new Aliea Gakuen, trying to scare the characters and the readers then flip it at that instant as if to say, "hey we were just kidding." First, it did not work. Second, it's way too obvious. Third, it's another unnecessary dramatization. And fourth, at that point of the story, the conflict was still not introduced, and it was already the third chapter. In other words, the story is dragging. It has a lot of unnecessary dramatization and scenarios that can be emitted without affecting the whole plot. If you want to keep the readers engaged, write what matters and only what matters. Here, I would like to suggest cutting to the chase—start where Hiroto heard his old evil school is back on its feet, introduce the conflict right away.

The next part is consistency. And I have to say that your story lacks one. First is because there are times when you drop a certain detail then changes the next chapter, such as when you mentioned that Kenzaki also went in jail, then suddenly appears in a chapter. Was he also on parole, just as what happened to Seijirou? If so, it would help to clarify this detail. Again, if you are aiming for some mystery in the story, make sure that your details are consistent, and at least linked to one another.

Grounding is also one of the things lacking in your story, and I am looking at the powers your characters have. Where do these powers come from? Why do they have such powers and others don't? Perhaps you felt free adding this considering the hyperdimensional soccer they already have, but remember that hyperdimensional soccer is normal to them. Having powers outside soccer is not. Perhaps it has something to do with the experiments back in Aliea Gakuen days, but that's all your readers could do—make assumptions, and in the end they still can't be sure why there are powers in the first place. I don't think there were any hints about it in the beginning either that would convince us that such powers were possible. It wasn't enough for the suspension of disbelief.

Now, for the details...aside from their consistency, they are also a bit unconvincing. I'd still like to point out the powers the characters have. It just seems very unlikely that the Aliea Gakuen kids' powers emerged at the same time on the same day. It makes me feel like you are too impatient to reveal that they have powers and that when a chance to reveal one's power resulted in revealing the rest of the others'. Moreover, there were no explanations for such synchronization anywhere.

Also, there are other scenes in the story that seems forced that they became unconvincing. It seems that you are pushing your story a bit too much. There's a lot of room, yet you are not using the space to its full potential. Don't worry about making your story longer—if it needs to be that way, then it will be that way. Remember, you, as a writer, do not decide how long a story should be. The one that decides it is the story you choose to tell. And if you've chosen such complicated plotline, it needs a lot of room to be told effectively. Please reflect on this.

Lastly, the Shiroi Ookami. As I mentioned in the Title section, the hint of this White Wolf never appeared until Chapter 10. Your readers would've forgotten about it by then. And it doesn't sound too important—not for this book anyway. It could be in a sequel (and I think I remember you mention there is one), but not in this book. If it's that significant, mention it as early as possible, convince your readers that it is important, or remove it if it's not.

Characterization: 8/20: Before I start, take note that your characters are part of the factors that affected your plot. Hopefully, after reading this section, you can connect why your characters affect the plot and how it should work for you.

For this part, I want to talk about three things: (1) The number of characters; (2) Dialogue; and (3) Inconsistencies.

Let's go straight to the point; your characters are all flat. They all talk the same way, they act the same way, sometimes I think I'm listening to a single character with different faces. The dialogues themselves are so lacking that it wasn't doing its main job right—to characterize a character (I will elaborate on this later). One of the problems here lie on the fact that you have a lot of characters—you stuff them in one scene and made sure they all participate in it. It's not that it's a bad thing, but this kind of stunt is pretty hard to pull off. It makes your readers wonder—who are the main characters? It's difficult to say that it's the entire Aliea Gakuen kids because not all of them have the appropriate screen time to be considered "main characters". I believe your number of characters made it difficult for you to focus on one or two characters to completely dwell on. As a matter of fact, the story won't have any problem with only one main character and have the rest be supporting ones. Don't be afraid to do that—it won't violate the collective sense of Aliea Gakuen.

Moreover, there are problems concerning some of your individual characters. There's that little detail about Midorikawa being the new captain of the new school soccer team, and it was pretty realistic that it pressured him considering that some of the members were from teams that were stronger than him in the past. I like that. But it lacks buildup, meaning that, in one scene, the pressure just came without any warning. The pressure should start from the beginning as a small concern for Midorikawa. Then the more things came to be, the more he realizes that he's going to lead a team with members who're stronger than him before. Build it up gradually, slowly, until a certain point that it would almost break him. The scene is just a suggestion, but it was an example of the buildup I'm talking about.

Takeshi also has a little problem, and I think it's fine to make him as a representative for the rest of the OCs you've used in the story. His first problem is that he came out of nowhere. Aside from the fact that he is Hitomiko's uncle and Seijirou's brother, who is this character? What kind of person is he? What is his background? You did not even give him any distinctions for me to remember what he looks like. Because he is an OC, it's your responsibility to make this character stand out as the rest of your "borrowed" characters, as I'd like to call it. He may not be a character from the series, but that does not make him less important. Remember, all the characters you involve in the story must have their importance for being there.

Now, the flatness and the lack of characterization of your characters also have to do with your dialogue. It's difficult to say whether your characterization affected your dialogue or if it's the other way around, but because dialogue characterizes a character, it has its role. First, like I mentioned above, the dialogue failed to do its job—characterize a character. Every person talks differently, and that is one of the things that differs one character from another. Second, one of the reasons it failed is because many times in the story the dialogues sounded so forced and unnatural. If you're not sure, try reading your story out loud. Third, please don't involve dialogues that need not be there. If it does not contribute to its role—to characterize, to give information, to move the story forward—then you don't have to include them.

The inconsistencies are just the details I want to point out. Inconsistencies in characterization will ruin characterization as a whole. With that being said, Endou and Midorikawa do not use the honorifics "-kun" in referring to their friends. Honorifics are one of the characterization techniques used by the Japanese, that's why it gives us the sense that Fubuki and Hiroto are the kind types of people that use -kun referring to others. Endou and Midorikawa, however, are not that kind of people, so it seems off hearing the "-kun" from them. Also, in Chapter 1, it's very unlikely for Furukabu to get them lost. Shouldn't he know where to go since they've already been in Hakuren before? Be careful in small details like this.

I'd like to mention one thing here (because I think this should be included here rather than in the plot). Kenzaki's motive for controlling over the school is vague, if not completely unknown. If this motive is not laid out clearly, there will be problems in the way Kenzaki will act, and thus also affects your plot. Taking revenge seems pretty shallow as well, considering that he just got out of jail and that he seems to have involved other people with him. Has he got nothing to lose, if that's the case? Please, make it clear.

Despite everything, I'd like to praise you on the dialogue in Chapter 1 between Endou and Kazemaru. That was one of the most accurate characterizations I found in your story. That really caught my eye, and I think you should base your dialogues there—see how Endou and Kazemaru interact and analyze what made Endou's dialogue so Endou-like and Kazemaru's so Kazemaru-like. I also like the part where you described Rococo as African. That, itself, is character.

Grammar and Writing Style: 9/15: Your chosen critique specifics are all under this rubric, and I have to say that this is where you excel the most.

You have simple sentences. And I could see it's really part of you. There's nothing bad about that, however, it seems that you are forcing yourself to use higher prose, meaning that some descriptions are quite exaggerated, some are unfittingly (I tried not to say 'wrongly') metaphor-ed. Don't feel bad about simple sentences. Some great writers write like that, and as long as they are consistent with the simplicity, their stories are going to be fine. So is yours. If you're trying for something new, practice. But keep it consistent. Sometimes you're trying higher registers, sometimes it's simple. Don't force yourself. Simplicity is also beauty, you know.

Your imagery, I have to say, is quite underdeveloped. It affects your setting a lot. Most of the time, I don't know where your characters are. I have to read out of context to know where you put them. Learn how to ground your characters so your readers could be there as well. Imagery is one of the things that could engage your readers. Setting, most of the time, is what makes your readers think they are inside the story; because they know what the place looks like. However, don't overdo the descriptions. Some writers can pull off very detailed imagery in one short paragraph, and it is encouraged to keep it short and concise—as short as possible. I'm not saying your descriptions are long nor they are short. Only, it's inconsistent. At one point you describe something in detail then describe things vaguely the next. Both can cause unnecessary info-dump and vague imagery. Be careful.

Transitions are a bit of a problem as well. You switch from one scene to another without any signals. If you want to keep it simple, you can just skip a line; space is enough for your readers to know the scene changed.

Next, avoid commentaries. In a narration, especially in third person omniscient point of view, the narrator—the author—is the one telling the story. It is the point of view where, most of the time, there are tendencies of commentaries. What I mean about this is the side comments from the narrator inside a narration, which is not a good thing because it brings too much attention to an author outside the story. The only thing readers should pay attention to is everything inside the fictional world. Even if a narrator's voice is there, you have to hide behind the glowing glory of your story. There is the tendency of getting detached, therefore it ruins the engagement of the readers.

You use too much passive voice. What are passive voices? There are the sentences that go like: "He was bitten by a snake;" "She was grabbed by the wrist." Avoid this; instead, do it like this: "The snake bit him;" "He grabbed her by the wrist." The purpose of this is also reader engagement. Passive voices give less sense of action and less sense of present time, meaning that "He is bitten by a snake" tells more of the past than "The snake bites him". However, I'm not saying to always use active voice. Balance is the key. The more you practice the more you'll know when to use them.

Lastly, fix your dialogue tags. The saying "said is dead" is a myth. Editors complain about the over-beautified dialogue tags such as "he asked," "she murmured," "he grumbled," "she exclaimed." Do not overdo it. Said is not dead, and most of the time your readers will not notice them. It is more appropriate to use said if your character did say something. When your character exclaimed, let the exclamation point tell the readers he's exclaiming—don't use "exclaim". It's redundant.

You still have a lot of room to improve in your writing style, but I still like the simplicity of it. Make use of that, it could be your own style. You don't have many problems with grammar, just a bit of typos here and there. But I believe you know your grammar, and the more you write the more it becomes natural to you. Keep writing.

Originality: 4/10: To tell you the truth, there's not much originality in it. Powers, the plotline, the spying, anyone had seen them before, even in Inazuma Eleven fanfictions. I should tell you that the lack of originality is also because of the lack of details. The powers, mostly, needs more grounding, especially because their powers are random except for those characters with obvious elements like Nagumo and Suzuno as fire and ice.

You also used the same "car accident" scheme here. Although it turned out to be a set-up, we've also already seen that in the series. The whole story did not provide an explanation, and Hitomiko's explanation is pretty vague as well. As long as you don't have anything original to explain that, this story will just be like anything else.

However, it does catch my attention the fact that Nagumo was the first to master his power first. You are good with those small interesting details, including Rococo being an African, and I think you should work yourself from there.

Feels Factor: 6/15: This rubric is affected by the rest of the rubric. The surprises did not work, some elements are pretty obvious. And the way the character personalities are forced make them unbelievable, so we do not really "feel" anything with these factors ruining the reading flow. It did not surprise me when Aliea Gakuen revealed that they are not evil. It did not thrill me what was going to happen next. At some point, it's quite predictable. I did not feel what I should have felt in certain scenes. I have to deduct a lot, nine points, for this.

[Raw] 41/100 [Final] 41%