He opens one of the books. As he does, letters and symbols move about across the page, as if finding their place. A combination of pictures and letters etches across the pages, glowing faintly, as if in invitation.
“See the Mythica is a different kind of Story. Using the technologies of the modern age to present teachings on the mystic arts. As we’ll come to discover together, she is a portal, a doorway into a whole new World of limitless possibilities.”
“See, it’s all about language. About the way we tell our Stories. About both what we say and how we say it. To teach the mystic arts, our tales asked to be told in a way that awakened both the Author and the Reader.”
“To do this, we work with a language of modern-day hieroglyphs which we are calling ‘hyperglyphs’, in which the way-of-the-telling, the mixture of words, icons, illustrations and hyperlinks all serve a much larger educational function, opening portals of curiosity for the Reader to go deeper, to explore more of the ever-expanding World of the Mythica, and in so doing, go deeper into the as-yet-undiscovered country within their own Divine embodiment.”
He turns the page of the book. Inside, you see a rough drawing, sketched and coloured, of two characters on a rainbow road through what appears to be the branch of some immense and unimaginably large tree. Curling with a pair of it’s leaves are a pair of photos. The clarity is distinctive in contrast to the drawing, as if inviting one to touch them.
“In the. Mythica, the Stories act as a portal into the magical World of the new paradigm. As you click on certain parts of the picture, you’ll be led deeper into various parts of the Mythica. Try it. Click on one of the grey circles surrounding the pictures!”
He trails his finger along the page, where the letters and text are paired next to icons and glyphs, some of animals and plants, others of mystical symbols.
“We learn so much from pictures” he says, flipping the pages of the book. “Of the totems and energies that make up our sacred Path.”
“Here, the symbols and glyphs upon the pages can lead to new territories within the site, acting as a visual hyperlink. Through this languaging, we’re helping the Reader to see the more subtle layer to their experience by outlining the nature of one’s individual timeline as both a singular heroic journey and a collective one, where we expand our vision past the individual to the much larger tapestry of threads within the Great Story of humanities unfoldment.”
Here, each element gains new relevance, where images are used throughout all iterations of the platform to bring the Reader into new territories. In the example above, when you click on the highlighted area, it takes you to the reference point on the timeline of the characters, blending the graphic novel and the timeline into a seamless play of reference.
Through this action, they engage in an exploration of their own self, exploring the as-yet-undiscovered country within their own Divine embodiment, coming to see the beauty of their own experience of personal totems, symbols and ways of being along their sacred Path.
This style of presentation is fundamental to both the Author and Reader’s experience, for the contemplation of both words and pictures creates a certain effect in the consciousness, inspiring a language of remembrance. Here, we show both the painting and the poetry of existence, phrasing things in a language of clarified symbolism which, by virtue of it’s presentation in a digital medium, allows us to use the images with the words as portals, symbolic rabbit holes of entry into the underlands of one’s experience.