"Squire of Stories" – March 5th, 1981

1980 – Zork

The etheric substance of the Akashic Library shimmered and shifted, revealing the glowing cover of the game Zork. In the midst of this transformation, a younger version of Peter appeared, sitting in front of a vintage Apple II computer. His small fingers clattered on the keyboard, typing commands to navigate his character through a text-based adventure. The words on the screen glowed faintly, a portal into a world of exploration and discovery.

Calliope stepped closer to the glowing scene, her gaze soft with curiosity. “What are we seeing here, Peter?” she asked, her voice filled with wonder.

Peter glanced at the image of his younger self and smiled. “This is where it began for me—the idea that I could be an adventurer, living the experience of exploration and discovery. It was Zork. A game where every keystroke was a step into another world, where you could explore dungeons, solve puzzles, and face the unknown.”

Calliope tilted her head, observing the young Peter engrossed in the game. “It looks so simple, yet there’s something deeply engaging about it. What drew you into this world?”

Peter gestured toward the glowing screen. “While my interest in the adventure of life began with the deva and my natural talents of perception, Zork gave me something tangible. It was a way to embody the spirit of the adventurer, even if just through text commands and a glowing screen. I could type ‘go north’ or ‘pick up lamp,’ and suddenly I was in a world filled with mystery and meaning.”

Calliope nodded thoughtfully. “So, it was less about the visuals and more about the sense of agency, the feeling that you were the adventurer?”

“Exactly,” Peter said, his eyes gleaming with nostalgia. “The game was a blank canvas, and I painted it with my imagination. Every prompt was an invitation to dive deeper into the story. It was the beginning of my realization that stories weren’t just things to read or watch; they were things to live.”

Calliope’s quill moved swiftly, capturing his words. “Did Zork influence the way you viewed your own journey in the real world?”"

Peter nodded, a faint smile on his lips. “It did. It planted the seed of an idea: that life itself could be a quest. The decisions we make, the paths we take, they’re all part of a grand adventure. Zork wasn’t just a game; it was a training ground for my imagination, a mirror reflecting my desire to explore the unknown and discover meaning in the chaos.”

Calliope looked at the younger Peter on the screen, her expression softening. “It’s remarkable how something so simple could have such a profound impact on your life. And it’s clear that the sense of adventure it gave you became a cornerstone of your journey.”

Peter stepped back, gazing at the scene as it slowly dissolved back into the library’s etheric shelves. “It did. Games like Zork were the gateways that showed me how stories could be lived, not just told. They were a spark, igniting a fire that would fuel my quest for decades to come.”

"While my interest in the adventure of life began with the deva and my natural talents of perception, the idea that I could actually be an adventurer living the experience of exploration and discovery really began to appear through games where I could embody that character in even the slightest of ways …"

The scenery shifts in the library becoming a suburban street. Peter and Calliope stand outside a theatre with the word ‘Squire’ written at the top.

“When are we now?” asked Calliope, looking up and down a main thoroughfare called “Middle Neck Road”.

“It’s 1981 for me here, and i’m eleven years old, discovering the magic of the movie theatre ….” he says.

The scenery shifts in the library becoming a suburban street. Peter and Calliope stand outside a theatre with the word ‘Squire’ written at the top.

“When are we now?” asked Calliope, looking up and down a main thoroughfare called “Middle Neck Road”.

“It’s 1981 for me here, and i’m eleven years old, discovering the magic of the movie theatre ….” he says.

“When I was a child in Great Neck, there was a movie theatre called the Squire. I regarded it as a temple, a sacred portal into the world of stories where one could visit other realms. It was the place of the silver screen, a flickering window into myth and meaning that would define the course of my life.”

Calliope: “A temple of stories? That sounds magical. What made it feel so sacred to you?”

Peter Fae: “It wasn’t just a place to watch movies. It was a gateway. Each film was a journey into a different world, a chance to experience lives and adventures far beyond my own. The Squire was where I first encountered the profound power of stories to transport and transform.”

Calliope: “That sounds incredible. Were there any particular films that stood out to you, that shaped your understanding of stories and their power?”

April 10th, 1981 – Excalibur

Peter Fae: “Absolutely. Over the years, there were many, but one of the greatest influences was the 1981 movie ‘Excalibur’ by John Boorman. It retold the classic mythology of Arthur Pendragon, Merlin, and the Knights of the Round Table. Watching it, something welled up within my heart. There was Power here, a Truth more constant and enduring than the shifting and screaming colors around me. It spoke to the very substance of story itself.”

Calliope: “Excalibur… I can see how that would be powerful. What did you find so compelling about it?”

Peter Fae: “The film was my Merlin, a teacher of magic through modern myth. The lines from the movie resonated deeply with me. ‘When a man lies, the part of the world dies,’ and ‘the trees, they are part of the dragon too.’ These stories taught me about the interconnectedness of life, the web of existence that we’re all part of.”

Calliope: “That’s a profound connection. Did these stories shape how you saw yourself and your role in the world?”

Peter Fae: “They did. In Dungeons and Dragons, I played characters like paladins, fighter-magic users, and bards. These archetypes impressed themselves deeply into my life. The paladin, the holy knight in service to something greater, resonated the most. I felt a calling to champion the Golden Age, to fight against the injustices and manipulations in the world.”

Calliope: “It sounds like these stories gave you a sense of purpose. How did that manifest in your life?”

Peter Fae: “I was angry at the injustices I saw and wanted to change things for the better. There was a line from ‘Excalibur’ that stayed with me: ‘Anál nathrach, orth’ bháis’s bethad, do chél dénmha.’ It became a mantra for transformation and action.”

Over the years I have come to see that there are things which define us, stories which transform the way we see ourselves and the world, which influence the actions we take and the very characters we become in the narrative of our life. One of the greatest influences in this for me was the 1981 movie ‘Excalibur’ by John Boorman, featuring the retelling of the classic mythology of Arthur Pendragon, Merlin and the knights of the Round Table.

Watching the film, something that welled up within my heart. There was Power here. A Truth that was more constant and enduring than the shifting and screaming colors which surrounded me, one that spoke to the very substance of story herself.

“when a man lies a part of the world dies. – Merlin

“the trees they are part of the dragon too!” – Arthur

(From John Boorman’s ‘Excalibur’ 1981)

The stories were my Merlin, my teachers of the magic through the modern myth, and I soaked them up, listening to the quiet voice that sat between the flickering images and costumes, to the heart of story that lay beneath.

This too was a truth. One I felt in my heart and the marrow of my bones. That we were all apart of the dragon. Of the web of life and legend itself.

In Dungeons and Dragons i’d played three major types of characters. A paladin, a fighter-magic user, and a bard. As I grew up, I would gradually discover how deeply these archetypes had impressed themselves into my life, and how much they resonated with soul’s mission on the planet.

It was the paladin that I resonated with, the holy knight in service to something greater. A champion of the Golden Age willing to do what was right.

And I was angry at it. At the injustices of things. At the lies, the manipulations, at all of it. I wanted to do something about it. To help things change for the brighter.

Anál nathrach, orth’ bháis’s bethad, do chél dénmha

June 12, 1981 – Clash of the Titans

Calliope: “The idea of being a demigod… how did that influence you?”

Peter Fae: “It surfaced many times in my story, defining how I looked at myself and the world. From Percy Jackson to various iterations of Hercules, these stories shaped my understanding of the mortal plane and our place in it. In 2009, there was a moment that solidified this for me.”

Calliope: “What happened in 2009 that was so significant?”

Peter Fae: “I watched ‘Raiders of the Lost Ark’ again, and the idea of travel, of moving from one place to another on a fantastic quest, captivated me. The scholarly adventurer exploring hidden reaches of the world deeply inspired me.”

Calliope: “That makes sense. Did it change how you saw your own journey?”

Peter Fae: “Definitely. It wasn’t just about physical travel but exploring the subtle realms of existence. The idea of a map stayed with me—a way to track one’s journey, to find the treasures of life in time and space.”

The Clay of Consciousness

“The idea of being a demigod would surface at many points of my story” said Peter. “It would define the way I looked at myself and the world and at how we defined ourselves in the mortal plane at all, coming through such works as Percy Jackson and the Lightning Thief and various iterations of Hercules across the years. In particular there was a moment in 2009 …”

June 12, 1981 – Raiders of the Lost Ark

Here again the idea of travel, of moving from one place to another on a fantastic quest and exploring the subtle world fascinated me …

The idea of a scholarly adventurer exploring the hidden reaches of the world was deeply inspiring to me …

November 6th, 1981 – The Map of Time

If there is any scene from a movie which I later came to recognize as a formative moment in my journey into the Mythica, it was the last scene of ‘Time Bandits’ where Kevin, the boy caught up in the shenanigans involved the time map and it’s thieves ends up in the castle of Evil after a climactic battle and is standing in-between a tank and a number of knights in armor impaled upon spears. In the scene, the midget thief-angels of the piece are returning to Heaven with the Supreme Being, and when Kevin asks if he can come, the Supreme Being says “No. Someone has to stay to carry on the fight!” and promptly vanishes in a wash of smoke, leaving Kevin stranded amongst the artifacts of war and distortion clutching a blanket. This affected me profoundly, as over the years I identified with the character’s abandonment by God , a warrior left behind to carry on the fight for goodness in a world gone mad.

“Someone’s got to stay to carry on the fight!” – The Supreme Being, Time Bandits 1981

The idea of a map stayed with me as well. That there was a way to track one’s journey, a map which spoke to the places in time and space where the treasures of life could be found.

1982 – The Dark Crystal

“Alone then” he said, committing himself to the Quest.

OLD TEXT

Calliope: “You mentioned ‘The Dark Crystal.’ How did it impact you?”

Peter Fae: “It was profound. The theme of unifying the Divine masculine and feminine played out within the film, as did the theft of innocence and vitality. At the time, I didn’t grasp these deeper themes fully, but they were there, shaping my understanding of the world.”

Calliope: “How did this movie influence your view of your quest?”

Peter Fae: “It committed me to the Quest. I realized that the myths were forever, changing their shape to fit the Ages. Here, I saw that Excalibur could be found sticking out of a dumpster. It was a subjective science, one of perception and its refinement.”

Calliope: “It seems like these stories were more than just entertainment for you. They were teachings, shaping your understanding and mission.”

Peter Fae: “Yes, exactly. These stories gave us our strength, acting as seeds for the larger mythos wishing to unfold over our lives. They anchored our sense of meaning, helping us navigate our place upon the worlds.”

Calliope: “So, they were like maps for the soul, guiding you through the landscapes of legend?”

Peter Fae: “Indeed, Calliope. They were the maps of our inner and outer journeys, guiding us to the treasures of life and the New Genesis of Earth herself.”

Many, many years later I would come to see the cultural phenomenon of unifying the Divine masculine and feminine as playing out within the theme of this film as well as the theft of innocence and vitality from the children which characterized the sins of the Hollywood. Yet at the time, such things had not come to presence in the world …

“You mentioned The Dark Crystal. How did it impact you?” Calliope asked as the room shifted into a glowing crystal chamber.

“It was profound,” Peter said. “The theme of unifying the Divine masculine and feminine played out within the film, as did the theft of innocence and vitality. At the time, I didn’t grasp these deeper themes fully, but they were there, shaping my understanding of the world.”

“How did this movie influence your view of your quest?” she asked.

“It committed me to the Quest,” Peter answered. “I realized that the myths were forever, changing their shape to fit the Ages. Here, I saw that Excalibur could be found sticking out of a dumpster. It was a subjective science, one of perception and its refinement.”

“It seems like these stories were more than just entertainment for you,” Calliope observed. “They were teachings, shaping your understanding and mission.”

“Yes, exactly,” Peter replied. “These stories gave us our strength, acting as seeds for the larger mythos wishing to unfold over our lives. They anchored our sense of meaning, helping us navigate our place upon the worlds.”

“So, they were like maps for the soul, guiding you through the landscapes of legend?” Calliope asked.

“Indeed, Calliope,” Peter said with conviction. “They were the maps of our inner and outer journeys, guiding us to the treasures of life and the New Genesis of Earth herself.”

1982 – Camelot 3000

The etheric substance of the library shimmered, and next to the glowing movie poster of Excalibur, a colorful comic book cover appeared, displaying the title Camelot 3000. Calliope turned toward the vibrant image, intrigued by its sudden appearance.

“Camelot 3000?” she asked, tilting her head as she studied the juxtaposition of the two works. “It seems like there’s a connection here. What’s the story behind this?”

Peter smiled, stepping closer to the comic book as it hovered in the air. “Camelot 3000 was another major influence, released the year after Excalibur. It told the tale of King Arthur and the Knights of the Round Table reincarnating into a future time, each knight taking on a new identity in a world radically different from their past lives.”

Calliope’s quill hovered, waiting for him to continue. “What resonated with me most was the idea of the reborn Quest,” Peter explained, his voice steady with conviction. “The knights returning in a new era spoke to a greater truth, one that mirrored my own sense of being tied to something ancient yet alive in the present. It felt like a call to arms, a reminder that the archetypes of our myths don’t fade—they adapt, returning again and again to meet the needs of the Age.”

Calliope nodded, sensing the depth of his connection. “So, you saw yourself in these stories? In their ability to adapt and re-emerge?”

“Yes,” Peter said. “Where Excalibur showed the eternal truth of myth in the ancient, Camelot 3000 demonstrated how that same truth could be reborn into the modern and futuristic. It showed me that the Round Table wasn’t just a relic of the past—it was a timeless symbol of unity, purpose, and devotion, relevant to any age.”

Calliope smiled, her quill resuming its graceful dance across the parchment. “The idea of reincarnated knights must have been inspiring for a young adventurer like yourself.”

“It was,” Peter agreed, his tone warm. “It gave me hope. Hope that no matter how broken or chaotic the world seemed, there were always those who would rise to meet the challenge, who would answer the call of their mythic destiny.”

The library shimmered again, the comic book and movie poster merging into a single glowing sigil, radiating a sense of unity between the ancient and the modern. Calliope glanced at Peter, her eyes alight with curiosity.

“Do you think this idea of a reborn Quest shaped your journey?” she asked.

Peter nodded. “Without a doubt. It helped me see that we’re all part of a larger story, one that spans not just lifetimes but entire Ages. And like the knights of Camelot 3000, we all have a role to play in bringing light to the world, no matter the time or place.”

Because on some level I knew this to be true. I could feel the threads beneath the pages, the space between the panels that led beyond the pages, deeper into the essence that gave rise to the story itself.

It is these stories which give us our strength, which act as the seeds for the larger mythos wishing to unfold itself over our lives. What appears on the surface as our media becomes the anchor for our sense of meaning, helping us to navigate our place upon the worlds.

1982 – Star Trek II – The Genesis Device

1982 – Star Trek II – The Genesis Device

Peter turned to Calliope, his eyes alight with curiosity. “Calliope, what do you know of the Star Trek mythology and its influence on the world? And what do you understand about the Genesis Device from Star Trek II?”

Calliope smiled thoughtfully, her quill pausing mid-air. “Star Trek is a cornerstone of modern mythos, blending science fiction with deep philosophical and ethical questions. It has shaped how generations envision the future—not just through technology, but through the idea of unity, exploration, and the betterment of humanity. As for the Genesis Device, it’s a symbol of creation and transformation, of life springing forth where there was none before. It carries profound implications about power and responsibility.”

Peter smiled at her insight. “Exactly. The Genesis Device was a conceptual seed for me, representing life-from-lifelessness. It wasn’t just a tool of science fiction; it was an emblem of the new paradigm I would come to envision—the movement from the Kali Yuga into a New Earth.”

Calliope’s quill moved quickly as she absorbed his words. “So, it became a kind of inspiration for the Mythica? A symbol of transformation?”

“Yes,” Peter said. “It was more than a movie prop. It spoke to a deeper resonance—a ripple of transformative energies, a subjective science of perception and its refinement. The Genesis Device was an echo of something real, something fundamental about creation and the renewal of life.”

The nebula shimmered in the space between them, glowing with an almost divine light. Calliope gazed at it with awe. “It’s beautiful,” she said softly.

Peter nodded. “It is. And it’s this beauty, this potential, that I wanted to bring into the world through my work. To create a Genesis Effect of sorts, a way to inspire others to see the magic and possibility inherent in life.”

Peter nodded, a spark of understanding in his expression. “Precisely. While Star Trek II was a classic for so many reasons, the inspiration that really influenced the Mythica here was that of the Genesis Device. Of life-from-lifelessness, a thing I would later come to regard as a ripple of the new paradigm arising through the storytellers of that time which spoke of the end of the Kali Yuga and the movement into a new world, a new genesis of Earth herself.”

Calliope leaned forward, her quill moving swiftly. “The Genesis Device… What did it mean to you?”

"It was the idea of a wave of information that could rewrite the patterns of the world on a quantum level, one that spoke to the zeitgeist of change which would define the society and cultural trends that I would encounter much later on the Quest, that there was a science which could, in essence, remake the world, returning it to the paradise, to the garden that was our rightful place."

"I see. And how did this relate to your feeling that there was something wrong with the world?"

"Well, you have to remember that I was young, only twelve years old at this point on the journey. My sense that there was something distorted about the world as well as the inspirations from the Genesis Device and the various media that defined me at this time were like seeds, glittering jewels of information that would only come into coherence much later on the Quest. Nonetheless, there was a constant beneath the story that was similar to what I’d felt in the land,” Peter said, his tone reverent. “A sense of the new genesis of the planet, of the richness and vitality of a world closer to paradise that sang within me. It was a subjective science, one of perception and its refinement.”

While Star Trek II was a classic for so many reasons, the inspiration that really influenced the Mythica here was that of the Genesis Device. Of life-from-lifelessness, a thing I would later come to regard as the a ripple of the new paradigm arising through the storytellers of that time which spoke of the end of the Kali Yuga and the movement into a new world, a new genesis of Earth herself.

There was a constant beneath the story that was similar to what i’d felt in the land, a sense of the new genesis of the planet, of the richness and vitality of a world closer to paradise that sang within me, and I wondered at the structure of how such a device would come to pass.

(Peter Fae – Mystic Sciences Officer (M.S.O.) First Class)

It was a subjective science, one of perception and it’s refinement.

It was this concept, a wave of transformative energies on the most subtle level of awareness acting as a transformative agent to help bring about the New Earth that would eventually integrate into what I called the “New Genesis Effect”.