"The Mythica Glyph" – April 13, 2010

2010-4-13

It is April in the Land of Enchantment when I first encounter what will become the brand glyph for Into the Mythica. I am living near the dance studio, in an alley abode where I continue to work diligently on the project, organizing the photos, working to move beyond the distortions and inconstancy within my consciousness to have ACCESS.

After my time in Scotland and the confirmation of the Laws of Reflection, I had become more and more interested in discerning why that was happening, and how it defined the landscape of our sacred Path. I envisioned a way of defining that landscape by it’s raw elements, showcasing how the inner World manifest the outer on the most primal of levels.

Drawing Mana from the Lore

As is my custom, I head to the comic book shoppe to give my tithe, feeling the flow of mana between myself and the Worlds accessed through the pages ….

Tools of the Tarot

I saw how all divinations were an inquiry into one’s Path, which was an outward expression of the energies of what I called one’s prism of self. That everything in our expression, including the very Land we walked on, was made of that same substance. A self witnessing itself, moving through a territory of psycho-shamanic reflection.

Yet while there was a compass for the surface plane, there was not one for the subtle. For understanding one’s point of reference, the axis mundi of their movement through the many realms of the World Tree

It is here that Bonny Moss, one of the dancers of the Pomegranate Temple who occurred for me in the Mythica as having the resonance of the elvish realms, introduces me to the concept of a “designer”. Apparently, an artist-for-hire who uses their magic to create glyphs and sigils for others. After giving her my specifications, she leads me to a firm called 3232designs and it’s proprietor Richard Muller.

As I have said, this was an entirely new experience for me. Having just come from the realms of the Academy, the very concept of ‘designers’ and ‘marketplaces’ and the like was an alien thing. One I was moving to understand in service to the creation of the Mythica.

The Mythica Glyph

As I moved into the mercenary realms of artists for the first time, the first thing I addressed was the Mythica glyph herself. The sigil that would define the branding, the basic energy that underlay all the stories that would come into being. Here, I spoke of our many stories as a journey, a movement back to the garden of Gaia that is our shared birthright. I described the idea of the pages of a book gradually turning into leaves, embodying the sacred movement I felt glimmering within the field.

The Compass

I explain to him what I want. A way of documenting one’s Story, that regarded one’s movement as a divination through the elemental fields of one’s own experience. Where we used the compass as a scrying tool to examine where we were on our own rainbow bridge.

In my vision, the compass acted as a kind of golden compass, a way of tracking one’s Path by recognizing the archetypes and energies of one’s experience and their reflection through their experience. To track that, I suggested lenses, on the inside and outside, too accommodate.

Most of all, I wanted it to showcase the elements. To be a way for me to present the deva that made up the Creation and our movement along that rainbow bridge. To combine what I have learned at the Academy with my explorations of the realms, find a way to track one’s way back to the Garden along the underlands of the Mythica.

The compass was beautiful closed, cast in a golden metallic

The Book of Myth

To compliment the compass, I detailed my desire to have the Story told through an ancient book in digital form, where the Stories would link to one another through a relational database, using the Story as a rabbit hole. A way of showing the connections that defined our Awakening.

This being my first experience with a hired magician, I was deeply impressed with his results. He had understood and communicated my concept beautifully, the threads of the spellwork both tight and facile. The casting was excellent.

Not only did he create the pages, he programmed a way of placing content in boxes and linking them into a back-end of pages all of which could be linked together. It was truly, truly a deep magic, and the first exposure I had to such impressions in the field.

“It has to combine the elements of a book and of nature.” I said. “Like a book whose pages turn into leaves. Something that suggests a Story of return. Our many tales of coming back to the Garden. Clear, yet soft enough for other interpretations. A lotus flower. A mountain. Flow.”

It was done. The spell was initiated. In the subtle fields below the surface, I could feel us both in shared communion, the harmonics dancing across time and space as the idea formed it’s way to bloom.

The Mirrorfine

When I first saw the iPad unveiled it was like a dream come true, inspiring the idea that this could be the tool for authors to document their journeys through the subtle realms, acting as a 'Hitchhiker's Guide to the Galaxy' for a new inspiration of mythopoetic journalism.

It was during this time that I sent a copy of the Time Bandits map to Richard, considering it a gift for his efforts to help me build the map and compass that I saw in my vision.

The Promethea Gambit

It is in this moment that I reach out to J.H. Williams III, the artist who worked with Alan Moore on the creation of the series ‘Promethea’. Like my encounter with Richard Mueller, I am mostly ignorant of the world of production, so far removed from the Faerie mountains in which I have been studying the magic.

I saw her so clearly you see. The Mythica. Already unfolding, already creating the comics of the emergent World. I could feel the essence of her substance, already ringing across the ethers of the akasha.

The spell was clear to me. A wielding that would show how the various avatars came together, revealing the siddhic arts and the magic that lay beneath the surface of our lives. Where we would blend pictures and illustrations, linking them all together into a modern hieroglyph.

I could see it. It was clear. We were the Gods. The Goddesses and the Fae. We were the creatures of myth and legend. These Stories were tales about US. I tried to explain this to J.H. Williams, explaining how the Mythica was a combination of the ideas of ‘Promethea’ and ‘The Nazz’ a work designed to showcase the mystic arts, the siddhi’s of consciousness, in the modern hieroglyph, yet it didn’t manifest.

…. A spell of Promethean proportions helping the people to transform themselves into their own highest aspect through the power of Story. In my innocence, I thought this was clear. I did not understand the different between octaves, nor the right timing of things in the temporal planes.