A being transport of pure sound, conveying mobility through space and time, enabling us to experience new ways of playing. The time has come for me to hypnotize myself into understanding the plans and going about the ceremony of putting together what has been uncovered.

I imagine a number of qualities such a vehicle of the mind might require for it to be a useful conveyance for me.

• Imminence, or a sense of the ability to move one location or state of mind to another.
• Intuition, that ability to understand and reason by mysterious and irrational means.
• Integrity, which is to say both completeness and honesty as a way to “hold it together”.
• Consonance, or the ability to maintain harmony and accord.
• Epistle, that is, messages and transcripts across gaps of perception.
• Precursor, or the ability to project one’s intentions and ideas through crossings in affect.
• Organism, which simply means the awareness and maintenance of life consciousness.
• Psyence, because one always needs a new word and which represents healthy models of system.
• Constellation, that process by which disparate parts and wholes organically relate.

There was this article in a science fiction magazine I read a while back. I still have the magazine somewhere in one of my transport boxes.  The article was about this guy building his own cylon robot out of available materials.

At the time I took it literally and seriously. Could you really make a cybernetic brain using sauerkraut as a baseline ingredient? If only I could save the shef boi-ahr-dee cans and use them to build my cyclon’s armored covering!

However, there is an important lesson here in building anything out of ideas and into substance. The stimulation of the imagination and the working out in one’s own psychic make-up how such models might work is an important step.

Is the plan we have built a put-on? Might it not also be a signpost, saying “look here, in this box for the diagram of your dream.”  Sauerkraut and tin cans indeed!

Watching the glowing light in my brain, I find myself getting wide-awake-sleepy, tick-tock.

She’s the sort of adventurer who works with Chaos magic and prefers to storm the walls of challenges with a sharp sword and a little surprise cleverness.  You know, the random encounter table does come up with some interesting unique beings when you roll double-ohs.

We swap stories and techniques, and then I get to thinking that since she might be on to something with this direct, full on warrior vitality, maybe I could stand to learn a thing or two about taking action.

Sure, sure, I’ve read all about it and have a good grounding in the theoretical principles.  I’ve taken a few tumbles in the school of sword swinging through active and immediate striking against obstacles to certain kinds of experience.

But you know, the fact is I go with the flow a lot of time, and find all those people out there taking action non-stop a little confusing.  How can they waste so much energy moving decisively?  Then again, I understand I must do the same to them–how can anybody waste so much time doing nothing?

So as of now, I’m taking action on something that’s been rising to a boil in my brain. That’s going to be my technique for practicing a larger field of experiencing another side of me that’s been coming to the forefront of consciousness lately.

In Dungeons and Dragons, the Tomb of Horrors was an adventure module known for the sheer number and interconnectedness of its many traps, tricks and puzzles. The module was sheer death and destruction for any adventuring party that attempted to reach the central tomb, where a monstrously powerful spirit dwelled among a pile of treasure.

Well, it’s another name for the super death trap maze a part of me built in my psyche to hold some of my treasure.

So how will I go about evading or disarming the traps, defeating the tricks, and solving the puzzles–especially since I am woefully poor at such things?  I shall draw them out of me and transform them into items of art for my own amusement!

And as I do so I shall glean small insights into, and experience of, the nature of an important aspect of me.

Stay tuned, wayfarers!

Children are especially susceptible to these small change bandits, with their cranking knobs and randomly released surprises.  The displays promise cool little toys or a delicious flavor experience if only you will take the plunge!

Usually what you get is predetermined—only different kinds of rubber balls or a figure from a collection—or the prize is lame.  You wanted the cheap metal skull ring and got a plastic pink smiley face instead.  The gum is good for about five seconds and then turns to sticky, tasteless wall sealant.  Sometimes, the machine doesn’t give you anything at all.

What a rip off!

Teaches a valuable lesson, however, doesn’t it? Beware of getting ripped off! All is not as it seems.

Yet we return again and again, hoping this time will be different.  Sometimes you get a halfway decent prize or experience, and then your parents are tired of waiting for you or don’t have any more change.

Oh yeah, this was like a religious observance for me. And there are many permutations of the gumball machine experience let me tell you!

One time at a Hardee’s hamburger joint, I discovered the back door so to speak.  The gumball machine only worked with tokens that you had to obtain by ordering something.

This particular gumball machine was enclosed in a kind of decoration, with the front flush to an opening where you accessed the machine.  I found that my arm was thin and wiry enough to reach up and down between the gap.

This enabled me to grab handfuls of prizes at a time!  I managed to fill my pockets before an employee noticed the crowd of kids watching me in awe and chased me out. Those prizes were some of the best I ever got too.

Then there are times when you come across a machine and everything you get is cool.  Neat stuff on a roll, and you run out of change.  When you come back the next day, however, the machine is gone!  Rip off!  But you still got some good loot, so it’s not a total rip off.

One time in Japan, in a remote mountain village I came across a gumball machine with small metal medieval weapons. Alas, I only had enough change to get three of these super cool items! Then I had to go and I couldn’t come back, due to my traveling schedule.  That’s how it goes!

In a sense, the gumball machine is a manifestation of the monstrance, that container that holds the sacred host.  It’s not unlike a dragon guarding treasure, or a form of the ordeal you face when you go on an adventure.

You pay your fare and take your chances. What is released is what you need—a tiny companion, a tool of play, a moment of sweetness—these are no small thing when one adventures in the depths of the soul! The worthless, useless thing turns out to be the most important of all.

These mechanisms may have been invented to separate children from their parent’s money in exchange for some “magic beans”, but even the charlatan may find themselves peddling rather more serious wares when destiny takes an intervening hand.

Everywhere you go, machines of meditation, teaching lessons as surely as any Kung Fu master to those who will listen. The time may come when we see how advanced these pieces of technology really are.

At first, there was usually some treasure at the center.  Later on I began to tape paper doors over these pups so you couldn’t see what the treasure was until you got there—surprise!

Then a figure of adventure began to take shape.  Usually the figure was a girl, sometimes holding a torch.  On rare occasions it was a boy, and a few times it was a group of greedy hunters with hats—spittle spraying from their leering smiles.

The labyrinth became a maze, with dead ends and rooms with dangerous experiences.  Monsters, traps, accidents, or words saying “You didn’t find it sukkr!” or “Nope!”  These too were covered up with doors so you couldn’t know what was under them until it was too late: “Bomb, you ded!”

A map of the psyche perhaps, both for consideration of how people approach me, and how I approach myself.  We can get lost in the vastness of our own being, sometimes a map helps.

Can we find the gold in ourselves?  How much of a maze and/or labyrinth do we build around ourselves when dealing with others?  Do we let them have our gold, or do we direct them to the spear trap?

So I drew up another such map in the old style.  Without the paper doors, but I could code a table with rollover images now to adapt for the Internet.  Certainly not a difficult journey, although the hazards are still there. The path still connects the inside and outside—some people close off their paths completely, mind you.

Has the time come to perhaps re-examine my map and draw something more complex? Taking a bit of inspiration from my seriously inventive and clever insightful Hexe, I believe I shall attempt it!

Truth be told, I’ve been hiding—cringing—cowering in plain sight with eyes closed. Trying to grasp what will be.

Facing myself and seeing this obstacle I have been blocked by transform into an offering. So now I must build the psychic conveyance I am to build.

The previous blueprint in my journal eighteen years ago was a test run on the prototype. Now’s the real unreal thing.

The trickster in me has tricked myself into knowing the way to build, and I’m now here in this valley of the skeleton trees with a slumbering sphinx. Special delivery from the other realm of imagination.

Okay, hold on to your self, because here we go. The ride starts here in a visible way. Hear it?

The killer bees who came to rock me been wintering over and building strength.  As the spring rains of radioactive doom spill out over the land, they been buzzing slowly into hot activity, like a magma swarm of super-charged sparks under intense pressure.

All they needed was a shelter from the mindlessness of humans caught in their repeating basic mantra of bad brains programming. The killer bees grow stronger in my mind; can’t help but feel a little like a king bee, if only in a small way.

I helped more bees.

Since I decided on becoming a beekeeper, I figured I ought to start at Level 0 somewhere.  K ordered this hang-able bunch of cut bamboo wrapped and stapled together, and I put it outside for mason bees to find a home.

Those bees are rover bees, wanderers and nomads without a hive. Heh, pretty cool. They’re all over the place, but you never notice them because they come in so many shapes and sizes not always resembling the humble honey bee.

K had her doubts, but I stubbornly insisted on getting started. Next thing I know, bees! Gathering their pollen for their little larvae and mud to seal up the little nursery capsules.

She was so excited by my success that she gathered up some bamboo and created a makeshift home bunch herself.  Next, she took a block of wood and drilled holes in it.  All these things were hung in a place so as to avoid the rain and get regular sunshine (warmth and dryness being key).

Okay, so it’s like six or seven sealed nurseries now. Very small results, but still so exciting!

Started looking up YouTube videos of beekeepers, and K tuned me into the top bar method of raising hives. This looks awesome. In particular, the video of the dude installing a queen without gear and only a pipe for smoke while his kids watch strikes me as incredibly brass.

It’s a preview to get me excited about one day being capable enough to help the bees. Yes, the honey is a benefit—I am thinking of myself at least a little. The satisfaction of exploration and experience, however, is what draws me. I must know more about bees!

And I will. Muah-ha-haaa!

For my birthday, I decided to purchase for myself a used copy of the core rules for the first edition of WFRP. The hardbound version, before they came out with the paperback version with the handful of edits and corrections.

The copy I received was in terrible condition: spine shot, taped together, with edges worn gray. The character sheet page was missing, and somebody’s name and phone number were penciled in on the inside of the front cover.

However, the rest of the pages were in good condition—of a stiffer paper than the paperback copy I have, and smelling of that old sensation I remember when poring over the copy I once possessed. To hold in my hands this version was to take me back to a moment in my life where I once was fully immersed in the explorations my passion for this game would take me.

I was also reminded of the terrible time I was forced to sell my hardbound copy to Powell’s bookstore to have enough food to eat that day. To relinquish this tome and many others for a handful of dollars so I wouldn’t starve. In the years to come this would be the selling of my heart that would trouble me the most: The book that began my most important journey.

I had no way of knowing an internet would appear that would allow me to gain a copy for printout through the download network if I wished. That a seller’s market would manifest in which one might see and resume contact with all the lost pleasantries of a thousand young dreams, and if necessary, claim a physical object to meditate upon.

Here it is then, in my hands once again, healing a self-inflicted wound. Who is to say this is not the very same volume I once owned? For you see, it was sent to me from a bookstore in Oregon, the state of mind where I left behind a piece of myself. There are times when even selling pieces of yourself is not enough to keep eating. You must flee into the forest and go mad to find nourishment.

I open the page containing the “Wizard’s Apprentice” beginning career, with it’s typos in magic points and incorrect advance scheme. The errors confused me back when I first read them; when they were corrected in the paperback version I was relieved.

Now I find myself looking at the 204 magic points (instead of the correct 2d4 or 2-8) and the +1 Wounds/+10 Dexterity advance scheme (missing the additional +10 Intelligence and +10 Willpower) with a new set of eyes. The typos are meaningful to me; they speak to my innermost being of what I didn’t understand.

Subsisting only on my resistance to damage and the work of my hands, but born with an accident of energy.

This time, I hold the rules tome in my hands and I get the message.

There’s this DVD that came out, known by the illustrious title of Every Other Day Is Halloween. Basically, the changeable and fantastically talented core of which Count Gore is but one manifestation—near as I can tell an ordinary human being known as Dick Dyszel—is admitting the passage of time in order to let his story be told.

The movie on this disc tells the story of how Mr. Dyszel found himself a central figure in a local broadcast station, playing several inspired characters, before the forces of mediacrity moved in and demanded tribute in the form of the bottom line.

Along the way, you see how Mr. Dyszel inspired people with his individual and honest outlook, as personified by the characters he played and the shows he hosted—Bozo the Clown, Captain 20, and Count Gore De Vol.

Certainly, there are other folks behind the scenes who contributed to this outburst of creative depiction on local programming. And the spirit of the seventies no doubt played a part in what locals in the Washington DC area remember fondly as “better times”.

Peak times to be sure, and total respect to the unsung efforts of those who get things done, but it always starts with an individual carrying a vision, or a talent, or a way of existing in space-time that shows us what we have lost.  How to adjust our course and return to ourselves.  The true genius constellates those talents and circumstances necessary for raising our consciousness.

So what experience do you get when you buy into this examination of an inspired man’s exploration of himself for the betterment of the community?  Quite a lot, actually.  Though, with any localized phenomenon, there are going to be experiences that only those who lived through it will get.

However!  Keep in mind that the treasures waiting to be discovered are in and of themselves examples of the finest art and of inestimable value to those who seek insight.  Surprises and secrets await those who quest with an open heart, who can hear what has gone before and dare to recreate what may yet be again.

The cover itself is an enigma easily dismissed as an attempt to downplay the contents—Count Gore presenting a can of steaming offal and garbage, while caricatures of other horror hosts float around the vapors with comical expressions. Horror hosts have often hidden behind a veil of humor in order to make their performance less threatening and more acceptable to societal antibodies.  This is activism at the base—always speak in the terms familiar with the audience you find yourself before on any given show.

Look more closely though, past the sadness that is self-depreciation and see the truth behind the images. One has only to know that in many fairy tales it is the worthless thing—the junk—that one finds the most important things of all.

If the hosts are masked in humor, one has only to know that we the audience are always the biggest joke of all.  In that realization there is humanity and redemption—the host always throws us the viewer back upon ourselves to realize the awesome horror and painful glory of being alive.

Opening the case, one cracks open a casket of horrors, yet also proclaims that they live! Passing beyond the threshold, one finds a Channel 20 Club card amongst the expected insert and disc. Yes, there is something of the child in all of us who desire to belong to wonders great and beautiful.  In the local DC area programming of Channel 20, such cards were a visible sign of divine power and a reassurance that magic was abundant.

That the coprorate centers of power regularly co-op such toys of civilized play to encourage “loyalty” to mechanized food outlets is proof of their inherent inventiveness.  Artists, entertainers, and magicians all know the way to reclaim such treats, for is not the card part of the trickery that conceals the true magic in the mind? Beyond a doubt, Captain 20 knew the card trick to remind us how such small things matter.

The disc itself contains the movie, and a veritable infectious fungal colony of extras.  Most of these will be of easiest value to those who remember. Yet pay attention and you will see how improvisational television programs work. How character and setting contribute to situation even in a fluid dynamic such as a studio for viewers.

Variety acts thrive on this sort of transformation—commercials, contests and cartoon blocks are mere forms to be molded and rearranged at will.  Green muppet mutants, friendly adults dispensing worthy advice from the heart, or showing manga style programs way before the mainstream caught on—these are the stuff of which legends are made manifest.  Do we not save the world as audience when we remember ourselves, or as performer when we remind others with our smoke and mirrors of the human spirit?

The movie itself contains a story of an intrepid entertainer’s journey from rough ore to final realization.  What strikes me most is how grounded and ordinary Mr. Dyszel appears. One can almost see the grandiose and unstoppable force of his shadow as personified by Count Gore De Vol lurking in the background.

Is that not the supreme mystery and absurd irony of our times?  That only in the nicest and most unassuming of men could a creative force arise to spark the flames of a thousand and one hearts?

When one is confronted with the simplicity and utter banality of a sock puppet wearing a chef’s hat speaking kitchen wisdom to us with the utmost sincerity, do we not believe?  It speaks volumes for the depths of our own souls, whether we respond with kindness and smiles or turn away in revulsion.

Pity those who see only the surface and not the invention of a lone soul progressing his art beyond a mere tool.  They are the unfortunates consigned to make programming decisions from a vast distance.

Another key point worth noting is how the story progresses into the horror host phenomenon.  This is where Mr. Dyszel fumble-foots into a trove of glittering gemstones and becomes part of a signifier for a deeply relevant art form’s transmutation.

Exiled from mainstream television, only to return and finally be banished again, Mr. Dyszel would seem too nice to survive such a crushing blow as the loss of all he held dear—the beloved figurehead of a local television station yanked from the stage, how contemptable!   Nevertheless, Mr. Dyszel continued his exploration and found in himself the ability to manifest studio in a backpack.

As a result, Count Gore spread his creative power into the Internet, and now no longer needs the station to transmit.  Vanquish the shadow, and he returns again in a new form requiring that we reckon with him once more.  We cannot escape ourselves!

The Internet allows everyone and anyone to be both host and audience, without the coercion and repression one finds in the structure of an impersonal system of power.  Such an environment is a natural breeding ground and salon for a revivification of what can only be termed a capsule of catharsis through the ceremonial experience of violation.

Mr. Dyszel’s successful exploration of the ideas within his passionate being speaks for itself.  To invent his own show regardless of the trauma and set himself firmly at the next foundation of where all culture will be transmitted in the future?

It is nothing less than stunning.

The movie ends with the closing of a former door and the opening of a new portal to worlds undreamed of.  It’s a whole new shared creative space.  One might say the monster not only survived, but lived to help spread the horror of a profound mystery to those who will come after us.

The horror host movement seems poised at the edge of a vast unmarked frontier.  What the practitioner-audience hybrid will make of it is hard to say—anything goes now.  There’s enough history now to form an idea of how things work out of countless trailblazed innovations.  The reactions of those who are themselves following personal visions as hosts are worth studying.

For example, I see in the easygoing testimony of Jerry Moore—who manifests as the outrageous Karlos Borloff—an affection for what Mr. Dyszel has accomplished.  He gained strength from the things he learned by experiencing himself at play with Count Gore on the tell-a-vision.

It’s enough to make me believe that the medium of late night horror shows not only has returned in a renewed form, but in a sense is better than ever before.  One has only to see the de-atomization of the community and the rapid sharing of ideas to see a strange solidarity emerging.

An ancient form of performance taking shape before our very eyes. Watch the movie and learn how profound changes in the world transform the way we experience ourselves as people. That we should owe our very life and soul to a vampire as channeled by a wandering artist of great destiny is truly a miracle of the age.

The key question is: “Did he meant to do that?”  Was it part of the act, this death-defying leap into the future? Before you can stop thinking again, the Count is before you, telling a horrible joke to bring it all back around again.

One time my folks bought me one half of a shipwreck set.  The set was of a sea galley in two pieces, presumably cracked in two because of a fire, an explosion, a pirate attack, or just hitting the rocks.  It could be any or even all of those!

I wanted the complete set, but my folks didn’t have enough money.  I went for the front half, with it’s detailed but fragile anchors and broken masts.  Assuming you set it up in an aquarium, a lifeboat flipped up when bubbles from an air hose collected underneath.  The figurehead was a gold, bare-breasted upper torso of a female figure.

I can remember the time as if it were yesterday.  The aquarium shop by the seaside, near the fish market.  The greedy unwrapping of my new toy, to be set in with my group of undersea toys and prizes.  Deep sea diving was a meditation I learned young.

Years passed, and the ship began to break apart and lose pieces of detail work.  One day I pulled the superstructure apart and broke the parts into smaller pieces.  That was the end of the toy.  But I kept one small piece—the figurehead, her breasts bare and her elbows pulled back as if she were thrusting forward into the waves.  She resided in The Box, waiting.

When I was a young man, my heart was broken and the life I thought I would live turned out to be a total failure.  Broken, lost, dazed; I wandered until the movie Titanic came out.  There on the temple screen of the last days of popular movie going, I connected with an experience that spoke to me of the failure of my life.

I grieved.

Down into the depths and broken in two, a mystery unknown stored within her submerged halls for all time.  Davy Jones triumphant, and I alone carried on to tell the tale if ever I regained some modicum of wit.

Yet the dreaming, yearning hope of what nothing remained moved me on.  Marking and remarking my tread with the scent of bitter tears until the voice of the unexplainable made itself known to me.

Failure is exploration, it said.

No longer a young man, I awoke, the gold of salvation on my hands and a numbing frost melting into my lips.  With the aching hunch of a starved prisoner I shrugged off rusted chains and stood up out of a cairn of stone suitable only for the dead.

A provident vision of a broken ship in two pieces from my youngest days, but the temptation is to turn away—imagining it childishness to desire what is so easily within one’s grasp now.  And a little fear, of losing again and of falling down back into the darkness.  To believe with one’s own eyes, yet to cringe away for uncertainty in one’s own worthiness.  Still longing, I convinced myself it is enough to see; this shall sustain me.

I had work to do, and with the talent of deep sea diving did what was meant to be done, rightly so.  These responsibilities I approached and accepted despite the lack of confidence, for if not I then who?  My ears might be inadequate, yet still I hear and listen.

Again, the vision, reduced price in a different place.  With signs from the intuition speaking loud and clear.  To shake off my last hesitation and accept is like lifting a mountain, moved.

This is my soul, my life, broken in pieces yet now whole and together as a secret treasure of the deep.  Where mysteries are found and solved.  Washed up on the shores of my being for me to behold and consider.

The Titanic is razed, and raised, rebuilt as miracles of inner healing take place.  My bruises are made clear; my dirty clothes wiped clean and my cuts sealed over with the softest of care.  What was unmendable has been renewed.

K and I meditate on this strange wonder.

No longer! Unpacked (again), re-learning my skill (again). I will get back in touch with this and make myself the very scarf that Kimaroo mentioned I need in this day and age of psychic blizzards.  Everybody needs an advanced tool of civilized multi-purpose function in this era of Road Mutants In Training.

But hey, sometimes the trove comes up extras on the bonus round. Lo and behold at the store, an array of potions such that K and I thought were relegated to an age of history sadly written. Just goes to show that anything can reappear when the world turns with a subtle flavor.

Behold, potions of healing goodness! K loves this beer, swears by it and has sorely missed it. We plan to stock up before those Roguesy weirdoes turn off the emergency damage repair spigot accidentally again.  For now though, it is exceedingly cool to run into an old friend of tasty character and refreshing vitality. Times are tough!

Of course, scrolls of revelation are included in the package as well. For my roleplaying game group I do maps and tokens as part of my full Game-mastering package of goodies.  Here’s a picture of one such map that I created, of the village where the characters begin their adventure.

Yes, full on detail and color of the highest order.  These things help my players imagine the scale and scope of the area they find themselves in. I was telling Kimaroo about this very thing, when I realized I ought to show her what the Hek I was talking about.

Yes, magic items are everywhere. Because we need them.