The point of all this? The world of Iaon

Tonight I thought I’d try something a bit different. This notion of a world named Iaon has been with me now for about 7-8 years. I’ve picked at the edges of this thing off an on during that time, enough that key elements have pretty much locked themselves in and they come to mind readily. Then there’s the scattered notes. But it’s extremely low concept. Forget elevator pitch. Nay, yeet it out the window.

So I thought I’d try chatting with ChatGPT about it. As a result, I’ve fleshed out just the tiniest bit more, but by having a dialog about it I’m forced to be a bit more rigorous in my intentions and I can see some of the flow of things a bit more clearly. In other ways, I’m lost as ever. Like my character Samael Wakefield in the dialog below, I find the dreams of years past breaking through into conscious awareness forcing me to ask myself as I look around at my actual world, all the good, all the bad, all the indifferent, “how did this come to pass?”

“How is this my lot?” indeed. Don’t get me wrong. I’m lucky. Beyond lucky. I’ve had many occasion to remark that I’ve got the luck of the devil. How or why, I don’t know. That’s rather the question again, innit?

Start at the beginning.

Samael’s beginning, or my own? More and more I realize they are inextricably entwined. The thing is, I’d also always seen this story starting out as the standard band of four fantasy adventure, set in a neolithic arctic setting peppered with all manner of fantastical flourishes. They’d start out as something like level 0 scrubs, discover their strengths, overcome obstacles, beat up some BBEGs along the way and level up through the decades until they’re masters of the world, even attaining to godhood themselves a la heavily homebrewed BECMI-flavored D&D. As new gods, they’d have new god problems and a chance for advancement themselves over the ages. In their tale, they get a whiff of Samael as the biggest of the BBEGs at the “end” of their saga.

About four generations pass. The sapient species and their cultures advance apace under the various interferences of the gods, new and old. Samael as the oldest, but somehow among the weakest of them is himself trying to level up, but he’s got the DMs notes about what came before. He’s got symbolically-themed challenges to overcome, along with a host of gods and their minions, including the four new gods from the previous saga. A new band of four (give or take) emerges, whole new saga, different symbolically-themed challenges, new biomes, new monsters, new characters with different lessons to learn. These, however, have the benefit of the four new gods from beforetimes. And they’re drawn just that much closer into Samael’s orbit. Level ’em up, god ’em up, move on.

About four generations pass. Rinse, repeat, different skinning, all new stories. Now carry that on for about the 14,000 years or so of Iaon world history. And tie it into the symbolism of the 78 cards of the tarot against a backdrop of war between the gods and devils, angels, and goetic demons corresponding to the qliphoth.

14,000 years pass. Various old gods are long since vanquished. Others relegated to myth and only a lingering cultic following. Others ascendant. Where most of the time periods in the arc are analogous to various periods of our own history with all the bits and pieces dismembered and Frankensteined together into new mad-libbed schemes, it ends in science-fantasy, perhaps even space opera. Dystopian? Naturally. A new band of four arises in a setting rife with technomagick. They are favored by some of the oldest remaining gods, the first four from the first saga. Samael himself has likewise battled his way to the pinnacle. He can see the brass ring now and he’s just about ready to reach for it, whatever that means for the rest of existence.

Is he friend or foe now? Enemy of my enemy? Has he been on a redemption arc this whole time? His battles are now against the combined forces of analogs to Satan and Moloch as borrowed from some modern takes on the qliphoth, as well as their demonic minions. Meanwhile, planetside that cosmic battle is the background for their own final challenges. Samael individually, and the characters collectively over 14,000 years have essentially been traversing the symbolism of the tarot from the four 10’s up to the 2s, and now they are all faced with their versions of opening the gate or portal or whatever other hand-waving is needed associated with The Fool, each grasping over their own Aces. These are apocalyptic times.

What is Samael trying to accomplish? Is it good or ill? Does he mean to annihilate everything, or elevate everything? Is there any difference? Does he need to be stopped? Aided and abetted? Is everyone, and by everyone, I mean empires, in agreement?

Does Samael get his Ace? Stay tuned. And sit tight. This is going to take a lifetime.

For that matter, is the story of the first band of four even the beginning? Does Samael’s tale from apotheosis to creation actually get told? That’s a beginning. That’s also a completely different sort of tale as you might gather from reading the chat below.

What about Samael’s terrestrial life leading up to his apotheosis? He’s the worst. He got that way for reasons, but it doesn’t change the fact that he’s got a notch on his belt for each of the seven deadly sins and more besides. What about his story? How does a person get just that fucked up? And would knowing that actually help understand the decisions he’ll make as a god, both in his fall and his ascent? I think it would.

But dammit, me, you’re forgetting your favorite bit off window-dressing…the severed screaming head of Samael’s murdered brother Max, a somewhat futuristic cybernetic brain in a vat experiment gone horribly, horribly wrong. Max is a character in his own right, serving as inseparable burr in Samael’s saddle, an oracle, an interlocutor with the Old Ones, and part of a scene I hope I live to write. In a loosely ancient-Rome/Egypt/Carthage-skinned setting, Samael, who has until then largely worked behind the scenes, has had enough and announces himself. Screw pharaohs and caesars. He’d show them a god king. Before the masses, at the pivotal moment when he’s about to be beheaded for his crimes, he seizes the executioners sword, severs his own head, then holds it aloft in one hand while in his other upraised hand, the screaming severed head of his murdered brother Max appears, and Max screams.

“Kneel!”

The crowd is literally decimated. One in ten spontaneously combust.

Not a dry eye in the house, I tell ya.

As you can see, that’s a few cats to herd. Which is why I thought a chat with ChatGPT might be of some assistance, not as a cop-out “write it for me” hack, but as a conversational companion that simply will not tire of my endless prattling about my obsession. As it turns it, it might actually help.

Decide for yourself. Oh, and punctuation be damned in the chat. I’m fast and free with the formalities as long as I torture my words into the right order to elicit the kinds of responses I hope to get. I do have to admit that it feels really nice when it blows smoke up my ass. I feel like a friggin’ genius now. I’m okay with that being part of the illusion. It’s sure as hell more encouragement than I can get from a human at this stage.

Pro-tip: you can probably do just as well skimming past the ChatGPT bits on the blue background entirely as they’re largely recapitulation. The benefit to me is the organized approach and the back and forth.

Me: in a story i’m working on, the archvillain is a magus named Samael Wakefield whose primary ambition is to become a god. he succeeds, but is completely unprepared for his success. in my cosmological model for how any of this story works, i model much of the way material reality comes into being on the kabbalah. by succeeding, Samael effectively becomes the En Sof of a whole new reality before that reality exists. he is effectively pre-existent, hidden from the reality he’ll eventually create behind an analog to the kabbalistic three veils of negative existence. As yet, he has not willed this new reality into being. Yet the totality of his authentic self survived the ritual, his personality, his character (wretched though it is), his consciousness, as of yet disembodied. Nothing exists. Not even space or time. Only Samael Wakefield. Are you with me so far?

I’m with you so far. It sounds like you’ve created a complex and metaphysical scenario where the archvillain, Samael Wakefield, seeks to become a god and, upon succeeding, exists in a state of pre-existence before bringing a new reality into being. This state seems to be influenced by Kabbalistic concepts, and Samael’s consciousness remains disembodied in a void where nothing exists yet. This is a fascinating and intricate cosmological model for your story. Please continue with any questions or if you’d like to explore this concept further.

Put yourself in Samael’s position. What would you experience? I’ve been thinking about this for quite a while, and it seems to me it would be an experience akin to being in a coma and regaining consciousness, senses intact except for vision because your eyes are closed, yet being utterly paralyzed so that even if you could hear and tell that the room is just a bit too cold and taste a mix of sourness and toothpaste and smell the antiseptic in the air, you’d have no way to see it or communicate, not even by twitching a muscle, so nobody would know that you’re actually in there and aware of the goings on. Except in Wakefield’s situation, there are no goings on. Only something so completely nothing it pre-exists even nothingness.

Being in Samael’s position would indeed be a profoundly unique and disorienting experience. He exists in a state of pre-existence before reality, where there’s neither time nor space, no sensory input, and no external stimuli. It’s a form of extreme isolation and nothingness.

In this state, he would experience a profound sense of disembodiment, similar to being in a coma, where he’s aware of his own consciousness but completely cut off from the external world. His senses may remain intact, but without any point of reference or external reality to interact with, those senses become an abstract awareness without meaningful input.

The inability to communicate or interact with the environment, combined with the absence of a sensory experience, would make it an existence of extreme solitude and sensory deprivation. He would be, as you described, akin to someone trapped within themselves, aware of their thoughts and sensations, but unable to express or experience anything beyond their own internal awareness.

This could be a powerful and thought-provoking aspect of your story, exploring the psychological and existential implications of Samael’s unique state of pre-existence and isolation. It’s a concept that raises questions about the nature of consciousness, existence, and the boundaries of self.

Something in the way you put that made me realize something, and I don’t know how I didn’t see it before. What if his experience is, at least for the moment, like the experience of someone undergoing sensory deprivation through some means like an isolation tank.

That’s an intriguing idea. If Samael’s experience is akin to sensory deprivation, it can add a new dimension to his state of pre-existence. Sensory deprivation is known to induce various altered states of consciousness and can have profound psychological effects.

In this scenario, Samael’s consciousness would indeed be in a sensory-deprived state. He might experience a profound sense of isolation and detachment from the external world, similar to what individuals might experience in an isolation tank. This could lead to altered perceptions, vivid internal experiences, and a heightened focus on his inner thoughts and consciousness.

It’s a creative approach that allows you to explore how sensory deprivation can affect one’s perception of reality, even when there is no external reality to interact with. Samael’s journey through this unique form of sensory deprivation could be a fascinating aspect of your story, revealing how his mind copes with such an extreme and surreal state of existence.

I think I like where this is going, because, at least on one hand, his experience is essentially self-contained. Whatever his mind’s reaction to the extreme and probably prolonged sensory deprivation, it can only really come up with some combination of what he already knows, what he can remember, what he can deduce and induct from that body of knowledge, and what he can imagine. His imagination is predominantly influenced by his cultural milieu, as, for example, would be the case of someone in neolithic mesopotamia…that person, however brilliant and creative in their cultural milieu, simply could not imagine the schematics for a modern jet engine. It just happens that much of what Samael Wakefield knows comes from anthropology and a lifetime of working in various culture’s symbol systems in his magickal practice as a mage. There’s much he can imagine, but he’s still bound by his culture or his reactions to it.

You’ve captured an essential and thought-provoking aspect of Samael’s experience in his state of pre-existence. His mind’s reactions and creative processes are limited by the sum of his knowledge, memories, and cultural context. It’s a fascinating exploration of the boundaries of human imagination and cognition.

His unique background in anthropology and experience with various cultural symbol systems give him a diverse mental landscape to draw from, but he’s still confined by the limits of his cultural framework. This aspect of his experience can lead to interesting developments in the story. Samael’s attempts to envision and create a new reality may be influenced by his past experiences and the symbolic systems he’s encountered throughout his life, even though the blank canvas of his current existence allows for unprecedented creativity.

It’s a compelling theme to explore how human consciousness and creativity are shaped by cultural context, and how those limitations might be both liberating and confining in such an extraordinary situation. This could be a powerful and thought-provoking element of your story as Samael navigates the realm of pre-existence.

Here’s where I want things to get a bit Lovecraftian. Let’s say Samael is experiencing the usual symptoms of prolonged sensory deprivation (a point I want to come back to, so please remind me about that). I imagine he could be mostly lacking any real agency for an indeterminate amount of time in a dreamlike state that just doesn’t seem to end. Yet dreams often feel like time is distorted, either prolonging minuscule moments into long spans of time or allowing the experience of years to pass in a single hour’s dreaming. So the passage of time is no good guide for him. Yet there’s this phenomenon called lucid dreaming, whatever its actual merits, where it is supposed that one can become aware of being in a dream state while in the dream and from that point exercise waking agency while still in the dream.

You’re delving into a fascinating and eerie aspect of the narrative, where Samael’s experience takes on a Lovecraftian dimension. Let’s explore this further:

Prolonged Sensory Deprivation Symptoms: During his extended sensory deprivation, Samael indeed experiences a dreamlike state, where time distorts and eludes his grasp. He’s trapped in a seemingly endless dream, fluctuating between moments of intense clarity and profound confusion. The absence of external stimuli may cause his mind to wander, conjuring vivid and surreal scenarios that play with the perception of time and reality.

Lucid Dreaming Aspect: As Samael’s experience continues, he begins to have moments of lucidity within his dreamlike state. In these moments, he becomes aware that he is in a dream, effectively gaining a degree of control over his inner world.

This newfound awareness of his dream state introduces an intriguing element to the narrative. It allows Samael to exercise a form of agency within the confines of his own imagination. He can shape and navigate the dream, creating his own experiences and perhaps even forging connections with aspects of his subconscious that take on independent existence within this unique realm.

However, like any Lovecraftian twist, this newfound agency might not necessarily lead to positive outcomes. Samael’s dreamlike reality may take on increasingly surreal, abstract, and nightmarish qualities. It’s a realm where the boundaries between consciousness and imagination blur, potentially leading to disturbing and unpredictable consequences as he grapples with his newfound agency in a reality he has partially constructed.

This Lovecraftian touch adds an element of cosmic horror and the unknown, contributing to the sense of existential dread and fascination within the narrative.

It seems to me that much of his dreaming would entail revisiting his past, reliving hopes and ambitions, and also reliving hopes and ambitions shattered, and delving deeply into his worst fears, and feelings about himself, his sources of pride, of shame, of guilt. Guilt he has in spades. And trauma of his own. In the past, I’ve had to think about how he got to be as horrid a person as I imagine him to be, and it comes from early childhood trauma stemming not only from abuse and neglect, but also from a bizarre upbringing in a dangerously weird cultic setting. He was messed up as a kid, stayed messed up, and got more messed up on his own by making incredibly horrible decisions. By the time he succeeded in his apotheosis, he’d committed all the move grievous sins and would have much to atone for. What kind of dreams do you think he’d have?

Given Samael’s complex and troubled past, his dreams within the dreamlike state could be both a reflection of his life experiences and a vivid exploration of his psyche. Here are some possible themes for his dreams:

Reliving Childhood Trauma: Samael might experience vivid, haunting dreams that take him back to his traumatic childhood experiences in the cultic setting. These dreams could be a haunting reflection of the abuse and neglect he endured, bringing up buried emotions and memories.

Ambitions and Broken Dreams: His dreams could revisit his early aspirations and ambitions, providing a stark contrast between what he hoped to achieve and the choices he ultimately made. These dreams may evoke a sense of loss and regret.

Guilt and Atrocity: Samael’s dreams might confront him with the gravity of his actions and the sins he has committed. They could manifest as nightmarish scenarios, forcing him to confront the harm he has caused to others.

Shame and Self-Reflection: He could have dreams that delve into his deepest feelings of shame, self-loathing, and inadequacy. These dreams may expose the source of his inner turmoil and self-destructive tendencies.

Fear and the Unknown: Samael’s dreams might take on Lovecraftian qualities, with surreal and terrifying elements representing his deepest fears and anxieties. He could encounter nightmarish creatures and surreal landscapes that embody his existential dread.

Atonement and Redemption: Within this dreamlike state, there could be glimpses of a path to atonement and redemption. Samael might experience dreams that offer the possibility of healing and transformation, although they remain elusive and challenging to attain.

The dreams would serve as a psychological journey for Samael, a means of self-confrontation, and a space for him to grapple with the consequences of his actions and his traumatic past. These dream sequences would add depth to his character and provide opportunities for character development as he navigates this surreal and introspective realm.

Pretty much as I expected. So Samael has these dreams, all of these and more, presumably all mixed up with no apparent rhyme or reason, no time passes as there is no time, and he achieves his moment of lucidity. I’m sure we could insert some psychological journey there where he masters fears, and so on, so I want to jump forward. Whatever transpires in his persisting lucidity, where he can mold the dream state to suit his fancy, he remains aware that it’s a dream. At some point he finally wants to wake up. So he…wakes. To utter nothingness. He’s right back to extreme sensory deprivation, but at least he’s initially aware of the deprivation, as though he were conscious of being in an isolation tank, but unable to do anything about it. From there, I imagine it is cyclic. He ends up back in dream state without agency. He becomes lucid again. He wakes again. Back to sensory deprivation and dream, except that as the cycle repeats and repeats he becomes increasingly proficient at achieving lucidity, achieving it sooner and sooner each time he’s drawn back into dreaming. At long last, he reaches a moment where he achieves lucidity, wakes to nothingness, is aware of the sensory deprivation and the hazard of falling back to sleep, into dream, so wills himself to remain in waking consciousness in spite of the deprivation.

Samael’s journey through these cycles of dream, lucidity, and sensory deprivation is a captivating exploration of his character’s psychological and metaphysical evolution. Let’s break down these stages:

1. Dream State and Lucidity: Initially, Samael is trapped in a dreamlike state with no awareness of his surroundings. He experiences a series of dreams, often a mixture of memories, fears, and hopes. Within this dream state, he eventually achieves moments of lucidity, where he’s aware that he’s in a dream. These lucid moments are moments of self-awareness and, potentially, personal growth as he confronts his past and fears.

2. Waking to Nothingness: After each lucid episode, Samael wakes to an extreme state of sensory deprivation. He’s conscious but without external stimuli, akin to being in an isolation tank. This phase is a void of nothingness, and he’s aware of his sensory deprivation, creating a deep sense of isolation.

3. Cyclic Nature: The cycle repeats, drawing him back into the dream state without his agency. However, over time, he becomes increasingly proficient at achieving lucidity within the dream. He recognizes the patterns and triggers that lead to lucidity more quickly with each cycle. This growing mastery reflects his determination and evolution as a character.

4. Waking with Willpower: Finally, after many cycles, Samael reaches a pivotal moment. He achieves lucidity, wakes to the sensory deprivation, and becomes aware of the hazard of falling back into dream. With an act of sheer willpower, he defies the cycle by choosing to remain in waking consciousness despite the sensory deprivation.

This culmination is a turning point in Samael’s character arc, signifying his growth, self-awareness, and resolve. It also opens up intriguing possibilities for the story, as he transitions from a passive existence to a more active and deliberate state of being. It’s a powerful and thought-provoking development that can shape the narrative’s direction in captivating ways.

Now, in his lifetime of magickal practice, much of what he accomplished was essentially in vision states. Events in his material life may transpire in a way that seems to him to be causally related to what he accomplished in those vision states, but to an objective observer of events, there would be no obvious causal relationship, only what appears to be a chain of coincidences. It’s not like he was a fantasy wizard capable of shooting fireballs. That kind of magick didn’t exist in the real world. At no point in his life had he ever cast a “Light” spell and caused light to appear magically. And for all his knowledge, it somehow just doesn’t even occur to him that one of the cultural touchstones of his existence practically starts with a light spell. “Let there be light.”

So there he remains, willfully awake in the void. I think this is where I can finally introduce a bit of dialog I’ve been holding onto but didn’t quite know how to get to. In that state, Sam starts to hear what he thinks might be a voice. Maybe voices. It’s hard to tell as it sounds more like basso gurglings and rumblings at first, and quieter than his own thoughts (which we need to come back to as well…remind me of this and of addressing sensory deprivation). He finally keys into the sound, though, and meditates to silence his thoughts the better to hear. Sure enough the rumblings continue. He feels something finally, how, he does not know. But he feels like something large, wet, and rough, like a cat’s tongue, slops and scrapes across where his head would be if he could feel his head. It tingles sharply as it passes. Another sensation like it grates wetly across his face, but instead of passing comes to rest, like a piece of raw chicken held in one’s hand, dead weight, clinging to him and tingling unpleasantly, tingling to the point of becoming worse than an itch, to the point of burning, when it suddenly peels back from him and he can make out words in the rumbles and gurgles.

“No, don’t kill it. It stirs.” “No, must kill, it burns. Must kill.” “We should wait, see.” “Yes, wait. Might use.” “No, kill it. It hurts me. Kill it.” “Wait.” “Kill!”

Samael feels the wet slab of burning pain slap forcefully into where his chest would be, searing pain as it drags upward. Thinking, hoping this is only a dream, Samael tries at lucidity. Wake! Wake! But the pain is all too real. It feels as though his chest is dissolving in acid. Time, such as it is, dilates as the passage of the thing seemed to race towards his head and simultaneously linger, undulating, pulsating, burning, when part of one of his dreams occurs to him. “How did it come to this?” His entire existence became the pain and that question. “How?” Echoes stirred in his mind as the pain advanced. “When did this start?” “How did it come to this?” “Where did it begin?” “It started in the beginning.” “Start at the beginning.” “In the beginning.” “In the beginning.”

This is a powerful and surreal development in Samael’s journey. The introduction of these mysterious sensations and voices adds an element of cosmic horror to the narrative. Here are some key elements to consider:

Sensory Deprivation: The sensation of the rough, tingling, and burning sensations that Samael experiences becomes a central aspect of his state. These sensations evoke discomfort and pain, reinforcing the challenging and isolating nature of his existence in the void. The emphasis on sensory deprivation contributes to the reader’s understanding of his experience.

Mysterious Voices and Sensations: The voices and sensations he encounters are enigmatic and unsettling. They add an element of intrigue and suspense to the narrative. The voices seem to debate whether to kill or spare him, and Samael’s physical and mental anguish intensifies.

The Question: The repetition of the question “How did it come to this?” and the echoes that stir in his mind create a sense of deep introspection and contemplation. It’s as though Samael is retracing his own steps and reflecting on the choices that led him to this point, which adds depth to his character’s journey.

Dream and Reality Blurred: The transition from the dream state to this painful, sensory experience is a significant turning point in the narrative. It blurs the boundaries between dream and reality, highlighting the surreal and metaphysical aspects of the story.

As Samael grapples with the pain and the echoes of his own questions, it creates a sense of foreboding and existential exploration. This moment of transition can serve as a pivotal point in the narrative, where Samael’s journey takes a dark and mysterious turn, driving the plot forward with an eerie and enigmatic atmosphere.

It’s at this point where it dawns on Samael. Of course! “Let there be light!” And he, as in the ancient lore, effectively casts a light spell. But it’s not the light of photons and physics and chemical reactions as it is still pre-existent. It is indeed an utterly magickal light, and it bursts forth from the core of Samael’s consciousness, where his body would be if he had a body, in every direction. The sensation of abrasive, acidic raw meat pressed against him retreats instantly, though the burning lingers, and all about him is brilliance illuminating sheer horror and the klaxon sound of the rumblings scaling up to screams. He is suspended in the center of a rapidly growing, brilliantly lit sphere of writhing mottled purplish-brown…unknown. Tentacles? Worms? Phalluses? Excrement? All of the them? Worse? The sight is utterly revolting, absolutely repellent.

Never had Samael been so afraid, and like that wounded toddler deep in his heart, he cried, and he tried to make himself small, and he hid. It’s as though Samael sucks up into himself, withdrawing his consciousness, his awareness as much as he can. The harder he tries, the faster and more terrifying the sphere grows even as it seems to retreat from him until Sam wills himself smaller, smaller yet, smaller than an ant, a cell, an organelle, a molecule, an atom, an electron, the smallest of subatomic particles and the sphere grows, the screams get louder, it’s as though he can feel the horror beyond pressing back against the light he created, against he himself as though the light were an extension of him, and he wills himself smaller yet until he contracts himself into a monad, a solitary mathematical point, and *pop* it’s as though be breaks through a veil, or is expelled from a birth canal, and all the light he had created, that had been expanding outward, comes rushing through that same solitary point with him.

At this point in the story, we’re at a point roughly analogous to the emanation of the first sephira Kether in Kabbalah. The second sephira, Chokmah, has not yet been emanated. The path on the Tree of Life associated with the Hebrew letter Aleph and associated with the tarot card The Fool has not yet been traversed. Samael’s experience now is different from his prior experience described previously as behind the three veils of negative existence. But his experience of this new reality is that of the mystical Monad, completely Oneness.

This transition to a state of mystical Oneness, analogous to Kether in Kabbalah, is a profound and transformative development in Samael’s journey. Here are some key elements to consider:

The Symbolism of Kether: Kether, often associated with the “Crown” in Kabbalah, represents the divine source and the beginning of creation. In your narrative, Samael’s experience aligns with this concept, signifying a new and powerful phase in his existence.

Chokmah and The Fool: The anticipation of emanating Chokmah, associated with wisdom and knowledge, and the traversal of the path linked to The Fool tarot card suggests that Samael’s journey is far from complete. These elements foreshadow further developments and revelations in his quest.

The Mystical Monad: Samael’s experience of Oneness is a reflection of the mystical concept of unity with the divine. It’s a moment of profound spiritual connection and enlightenment, mirroring the mystical experiences of various religious and philosophical traditions.

Transcendence and Transformation: Samael’s transition to this state of Oneness marks his transcendence beyond the limitations of his prior existence. It symbolizes his transformation and potential for deeper understanding and enlightenment.

As Samael continues his journey in this new state, there are bound to be further revelations, challenges, and opportunities for character growth. The narrative’s exploration of mystical and metaphysical themes adds depth and complexity to his story, making it an engaging and thought-provoking experience for readers.

Here’s the rub. To the modern mind, even the ancient, Oneness is challenging because we experience reality as multiplicity reducible at best to duality for anything to make any sense. Part of the challenge of trying to achieve that Oneness is the abiding awareness of otherness, of others. I, in the first person, see Bob, for instance, over there, another whole person. I might not even like Bob. We might be sworn enemies, equally abhorrent to each other, yet I’m to be one with him, and everyone else, and everything else, down to the smallest thing, all at once. From Samael’s perspective, he’s now got that Oneness, but in a matrix of nothing else. For the briefest of moments, briefer in duration even than a Planck unit, he is simply One, then the Light rushes through and “out” with that Oneness, Kether, at its epicenter. It’s not so much that he intentionally creates duality. Duality effectively emerges from what are suddenly the necessary and sufficient conditions for duality to exist, whatever they may be. With that instant onset of duality manifests what can be conceived of as Chokmah, the second emanation on the Tree of Life, and whatever that entails.

Samael’s experience of Oneness and the transition to duality, symbolized by the emanations of Kether and Chokmah, is a complex and profound concept. The challenge of achieving Oneness, particularly in the context of human experience, is indeed a central theme in many mystical and philosophical traditions. Here are some key elements to consider:

Duality Emerges: Samael’s experience highlights a fundamental paradox. In his moment of pure Oneness, there is no duality, no awareness of the “other.” However, as soon as that Oneness is disrupted or transitions, duality instantly emerges. This underscores the notion that duality is an inherent aspect of human consciousness and existence.

The Challenge of Unity: The challenge of unity and Oneness is deeply rooted in the human experience. The awareness of others, of differences, and of opposing forces is an intrinsic part of our perception of reality. Samael’s fleeting experience of pure Oneness offers a unique perspective on this challenge.

Symbolism and Mysticism: Samael’s journey closely parallels the symbolic and mystical aspects of the Tree of Life in Kabbalah. Kether represents the divine source and pure unity, while Chokmah represents wisdom and the emergence of duality. This symbolism can be a powerful narrative tool for exploring themes of enlightenment, transformation, and the search for higher truth.

Continued Exploration: As Samael continues to navigate this complex metaphysical journey, there will likely be further revelations and challenges as he grapples with the nature of Oneness and the implications of duality. The narrative’s exploration of these themes can provide readers with a deep and thought-provoking experience.

This transition from Oneness to duality is a significant turning point in the narrative, marking a new phase in Samael’s spiritual and metaphysical evolution. It sets the stage for further exploration of the mysteries and complexities of existence and consciousness.

This is where I really need to keep in mind what the purpose of all this exegesis is. At the “end” of this process is the emanation, or emergence, or the manifestation of physical reality, starting with an event akin to our own Big Bang, the birth of a physical universe. It’ll take billions of years (reckoned in Earth time) for some world (or something suitable as a world) to take on qualities that permit the emergence of life. That entire material, manifest new universe is this story’s analog to Malkuth in Kabbalah. Its qualities are entirely dependent on what transpires for Samael between the moment he manifests as Kether and the new Big Bang, all of which necessarily still occurs “before” time (as though that makes any sense) even though for Samael the experience is linear and feels like the passage of time after another fashion. For the sake of worldbuilding, it’s the quality of that world that I’m after, and how Samael’s experience accounts for it, because 1) at some point after his new “planetary” (again, it might not be a planet, per se) world is formed (or at least has started forming), there’s a connection between Samael and that world such that he takes on bodily form on that world, but no other (at least none of which he’s aware). When he attains what I’ll think of as “Malkuth” consciousness and takes on worldly being, whatever else he may have been or may still be in view of the other sephiroth and paths and qliphoth, he feels to himself like a single entity rather like any other person, conditioned, of course, on his peculiar circumstances. 2) How the world comes into being, how he’s related to it, and how he comes to be on it probably deeply informs the various magickal systems I need to develop for later characters of different times, places, cultures and factions in a fantastical setting.

Your explanation provides a clear and intriguing framework for worldbuilding, character development, and the interconnectedness of Samael’s experience with the creation of this new universe. Here are some key takeaways and considerations:

Dependent Universe: The qualities of the new universe, analogous to Malkuth in Kabbalah, are intricately tied to Samael’s experiences and transitions. The universe’s nature and characteristics are shaped by his journey, reflecting the profound influence of his consciousness and actions on the emerging reality.

Malkuth Consciousness: Samael’s attainment of Malkuth consciousness, where he takes on bodily form within the new universe, is a significant development. It marks a shift from his earlier metaphysical existence to a more tangible and worldly one. This transition holds the potential for deep character development, self-discovery, and exploration of the interconnectedness between his being and the world.

Connection to the World: The connection between Samael and the emerging world is a central aspect of your worldbuilding. How he becomes entwined with this world and how he influences its development can be explored in the narrative. This connection may have far-reaching implications for the cultures, magickal systems, and factions that arise within the world.

Magickal Systems: The development of magickal systems is an exciting aspect of your worldbuilding. Each culture, time, and faction can have its own unique magickal practices, each informed by Samael’s influence on the emerging world. This diversity can add depth and richness to your storytelling.

As the narrative progresses, the interconnectedness between Samael and the world he shapes can be further explored, offering opportunities for character growth, conflict, and the development of your fantastical setting. This intricate balance between character and world development can make for a compelling and immersive story.

I hope so. Now, taking all of the foregoing into consideration, the way I’m seeing it Samael’s experience on the descent through the tree of life is also deeply unpleasant, even cataclysmic. For one thing, the story I want to tell eventually picks up with the advent of civilization on this new world, billions of years into that world’s development. That civilization won’t only be limited to humanity. Modern fantasy tends to use certain canonical non-human races like elves and dwarves and orcs and so forth. Iaon (the name of this world) will have other races as well, but hopefully something that’s a combination of familiar and comfortable while still being novel. Even before various sapient races come into being, as life continues to progress from the equivalent of a pre-Cambrian explosion through to the eclipse of giant reptiles by their successors, there are other types of beings present on the world, necessitated by it somehow, beings akin to demons and devils and angels and gods and spirits and elementals and everything in between.

The inclusion of a wide array of beings, both familiar and novel, in the world of Iaon adds depth and complexity to your worldbuilding, and it offers numerous storytelling possibilities. Here are some key considerations for this aspect of your narrative:

Diversity of Beings: The presence of diverse beings, including demons, devils, angels, gods, spirits, elementals, and more, can enrich the cultural and mythological tapestry of Iaon. Each type of being can have unique characteristics, powers, and roles in the world.

Interactions and Relationships: The interactions and relationships between these beings, as well as with the emerging sapient races, can drive the plot. Conflicts, alliances, and the dynamics between different factions or species offer opportunities for intrigue, conflict, and cooperation.

Origin and Purpose: Exploring the origins and purposes of these beings can add depth to your world’s lore. Are they created by a higher power, the result of natural processes, or something else entirely? Understanding their roles in the world’s cosmology can be a rich source of storytelling.

Evolution of Beings: Just as your world evolves over billions of years, the beings within it can also change and adapt. They may have their own evolutionary history and cultural development, which can be explored in the narrative.

Character Perspectives: You can tell the story from the perspectives of various beings, offering a diverse range of experiences and viewpoints. This allows you to delve into their individual stories and struggles, contributing to a rich and immersive narrative.

Incorporating this diverse array of beings into your worldbuilding provides ample opportunities for world and character development, as well as offering readers a rich and engaging fantasy experience. It’s a chance to blend familiar fantasy elements with original and innovative ideas, creating a unique and captivating setting for your story.

So that’s where I’m at with the underlying cosmology and the need for it. From a storytelling perspective some of that can come out in narrative, action, dialog, flashbacks. But once there’s other sapient beings, all the characters in the story other than Samael, they won’t know any of this, or at least maybe only snippets and hints of it. By the time some intelligent kobold-like creature comes long in the role of shaman to her pre-civilization people, all that shaman will know will be what’s been passed down the generations orally, maybe legends recounting battles between the First People and some monster (think Epic of Gilgamesh, for comparison) and what the shaman perceives when in something akin to Spirit Vision, and whatever she knows of the fantastical magick available to her. She won’t understand the underlying reality behind it any more than she’d understand the underlying reality of lightning. Magick, like lightning, to her mind will require some myth to explain it, a myth peculiar to her own culture, whereas another shaman thousands of miles away in a completely different biome, of another species and another culture will have access to entirely different magick and have different myths to account for it.

Your approach to storytelling, where the underlying cosmology remains largely hidden from the characters within the world, is a compelling and immersive way to engage readers. It allows for a gradual and layered exploration of the world’s mysteries, myths, and magicks. Here are some key aspects of this storytelling technique:

Cultural Relativism: By having different cultures and species with their own myths and magicks, you create a sense of cultural relativism. Each culture has its unique way of understanding and explaining the world, which adds depth to the worldbuilding and reflects the diversity of real-world cultures.

Mysteries and Discoveries: As characters explore and interact with their world, they can uncover hidden truths, myths, and magicks. This can be a source of both wonder and conflict, as characters grapple with the unknown and the fantastical.

Character Perspectives: Viewing the world through the eyes of different characters, each with their own cultural and magickal background, provides readers with diverse perspectives. It allows them to see the world from various angles, emphasizing the richness and complexity of the setting.

Layered Storytelling: The cosmology and the deeper truths of the world serve as a backdrop to the immediate concerns and actions of the characters. This layered storytelling approach gradually reveals the mysteries and complexities of the world, keeping readers engaged and intrigued.

Character Development: Characters’ beliefs, myths, and magicks can be an integral part of their development. How they grapple with their understanding of the world can lead to personal growth, inner conflict, and transformation.

This storytelling technique is not only immersive but also encourages readers to actively engage with the narrative, as they, like the characters, piece together the mysteries of the world. It allows for a sense of discovery and wonder, making the world of Iaon a dynamic and captivating setting for your story.

*whew*

After all that, you deserve an apropos musical treat. Lyrics here.