2026 ~ LA PENSINE MUTINE (EN)

A Sandbox Odyssey

Ey@el6/28/2026Consciousness of the Real No comments

Surfing on the waves of melancholy,
The Sandman scatters his fables.
At the gates of slumber, sleep counsels only
The lucid dreamer, who alone decides
To remember before drifting away.
"Âme mnésique", La Pensine Mutine (2025)

That little girl on the beach, with her red bucket and spade, is actually my younger self¹ at the start of this hourglass cycle. I may not have become an architect or a builder, mind you, but I’ve spent quite a bit of time in sandpits. Without ever getting stuck, though. And it’s not for lack of having waded through my fair share of quicksand. Perhaps my footing is surer than my faith. Or I’ve got a mental firewall that actually works. Go figure!

The Sandman

Mr. Sandman, bring me a dream,
Make him the cutest that I've ever seen,
Give him the word that I'm not a rover,
Then tell him that his lonesome nights are over.
"Mr. Sandman", The Chordettes (1954)

A sandbox (or sandpit) is, primarily, a play area for children. In motorsport, however, it refers to a run-off area that is situated on the outside of a bend on a circuit. By extension, it also refers to a test environment: an IT security mechanism based on the isolation of software components that could potentially compromise the system.

The military also use sandboxes to create scale models of landscapes featuring the topography of a particular area, in order to prepare for manoeuvres or offensives.

In supraconsciousness², these are conceptual fields designed by the architects of this matrix in order to entrap and contain individuals within pointless, illusory quests. Their aim is to delay, or even prevent, the emancipation of human consciousness so that they can feed on our emotional energy (loosh) indefinitely. These sandboxes (religions, spiritualities, ideologies, philosophies, occultism, addictions, fanaticism, etc.) thus suppress the (very real) feeling of going in circles and provide a semblance of meaning to captive souls until their next recycling.

The Dreaming Emissary

Sleep with one eye open,
Gripping your pillow tight.
Exit light.
Enter night.
Take my hand,
We're off to Neverland.
"Enter Sandman", Metallica (1991)

We all go through those infamous sandboxes, and we all build castles in the air there, which we tirelessly rebuild time and again as the violent waves come crashing in and destroy the entire structure—where, for a fleeting moment, the Real sometimes bursts through the opaque vault of our numbed consciousness. Some waste their entire lives in there. While others hop from one box to the next as if playing leapfrog, honing their judgement at every new stage, as if they instinctively knew that a moving target is much harder to hit.

But some of these matrix isolation chambers are far more dangerous than others, as they can entrap consciousness on a permanent basis rather than just for the duration of a single hourglass cycle. These are all those related to the occult, the invisible world, and spirituality… because they involve far more than mere energy vampirism. Selling one’s soul is overrated. These days, people willingly give it up to cholera in order to escape the plague.

And it’s not out of stupidity or ignorance, because it’s all true. Well, almost. After all, the devil (or the Other) is in the details. But our vibrational myopia prevents us from making out the small print in footnotes. Not to mention our selective deafness, which causes us to ignore the alarms that go off whenever an engram³ is surreptitiously introduced.

The Heist of the Century

How come I end up where I started?
How come I end up where I went wrong?
Won't take my eyes off the ball again,
You reel me out then you cut the string.
"15 Steps", Radiohead (2003)

But the fear of finding ourselves alone and disoriented causes us to bury our heads ever deeper in the sand, despite the cognitive dissonance that keeps growing as our lines of code are being rewritten.

“You are programmed to instinctively reject that which could set you free.” A most devious mind-bender that quite simply invites us to abandon all instinctive discernment in favour of a messenger—not of the Real, but of the Reel as in film reel, fishing reel—and, by extension, loop. The term ‘reeling’ takes on its full meaning here. And much more.

Soul-breakers 2.0 no longer seek to crack the safe from the outside, but rather to change the locks from the inside by providing the access codes for the ‘exit’ themselves. In doing so, they introduce backdoors that allow them to lock down any other point of entry and to quietly rewrite the codes without their host’s knowledge. The perfect Trojan horse⁴.

Archontic Wall vs Ahrimanian Portal?

What shall we use to fill the empty spaces
Where we used to talk?
How shall I fill the final places?
How should I complete the wall?
"Empty Spaces", Pink Floyd (1979)

The enemies of my enemies are not necessarily my friends. This is something the lucid dreamer soon discovers as they plunge into the Uranian cybernetic branch.

Occultist Rudolf Steiner foresaw, for the start of the millennium, the emergence of an evil in the form of a pure, cold intelligence that would disconnect mankind from its heart, transforming human thought ‘into some kind of programmed computer’ (this is, of course, an extrapolation of his words to bring them into line with our present context). This, at any rate, is the stance advocated by the proponents of ‘good’ (non-archontic) transhumanism and the carbon-silicon alliance of the Aquarian Age.

The driving forces behind these dynamics of control are essentially the same as those of the regular age: the creation of an ever-present threat (the devil, the astral, aliens…) which fosters constant vigilance and mistrust towards the outside world and your own impulses; the exhortation to break with old practices and beliefs for the salvation of the soul, its ascension to 5D, or its exit from the wheel of Samsara; the transfer of authority from the individual—cut off from all their points of reference—to a liberating figure who, depending on the ‘sandbox’, either saves, guides or enlightens you.

Yeshua, Ashtar, Saint Germain, the Adjuster, “l'Archipel” (the archipelago)… you name it, the role is always the same: to serve as the sole ‘reliable’ point of reference, whilst everything else is stigmatised, demonised, labelled ‘organic portals’, ‘agents of the system’, or even ‘nihilists’ in some cases.

All delivered with candour and condescending benevolence. You don’t catch flies with vinegar, but with truths skilfully distilled into cutting-edge jargon and a touch of unverifiable stories, altered to fit the narrative. It is an art that goes far beyond ordinary human intelligence.

Additionally, the quest for attention to nurture the massive spiritual egos of those (human) sandbox keepers is often (if not always) a front for a thriving business which, of course, they deny having. Whilst some are acting in good faith and are relatively transparent on the matter, others, by contrast, are far less so and even turn out to be downright dishonest.

Tear Down the Wall!

I have seen the writing on the wall,
Don't think I need anything at all.
All in all it was all just bricks in the wall.

"Another Brick in the Wall, Pt. 3", Pink Floyd (1979)

Ultimately, we have never truly been cut off from our own spirit, save by the walls of belief that we build around ourselves. Whether through thoughts instilled by the astral plane or the teachings of false monarchs exiled from their kingdoms and craving subjects to rule over, we need not feed these fables in order to find the way out for ourselves.

Endnotes

^ An old-school digital collage (without AI) which I created myself using two original photos.
^ Supraconsciousness: Relating to a consciousness that transcends the human realm. The Science of the Spirit according to Rudolf Steiner. A term appearing in numerous dictionaries which cannot be copyrighted or hexed.
^ In neurophysiology, an engram is the biological trace of memory (a mnemonic trace or artefact) in the brain. Through its activity, in response to various stimuli, the mnemonic process produces a construct by (re)structuring information into knowledge, resulting in concepts that can be programmed into (re)actions that are more or less appropriate.
^ A Trojan horse is a type of malicious software, which should not be confused with viruses or worms. A Trojan horse is a piece of software that appears to be legitimate, but which contains malicious functionality. Its purpose is to introduce this malicious functionality onto the computer and install it without the user’s knowledge.

The Mirror Visitor

Ey@el6/21/2026Books and Graphic Novels No comments

Thirteen years ago, I finally opened A Winter's Promise for the first time, after weeks of hesitation because the original title in French struck me more as a romance than as the most remarkable work of fantasy since Harry Potter and His Dark Materials. And it was French, no less. If you're a regular reader of this blog, you are certainly familiar with the story behind The Mirror Visitor tetralogy, as I’ve mentioned it on numerous occasions—namely in 2017 and more recently in 2024, as part of an extensive interview with its author, Christelle Dabos.

Today, The Mirror Visitor—which has sold over 1.3 million copies and been translated into some twenty languages—is back in the spotlight at French-language bookstores with the release of the graphic novel adaptation, a very faithful and successful rendition of the first volume illustrated by Vanyda, which I invite you to discover via the short trailer above, made by yours truly.

**Christelle Dabos**, 2013 - Europa Editions - 2437 pages

For me, it was the opportunity to immerse myself back into this world that I hadn’t revisited since the publication of the final installment of the series in 2019. And to rediscover it from the fresh perspective of the Consciousness of the Real.

The God Who Felt 'Threatened'

In the beginning, we were as one.
But God felt we couldn’t satisfy him like that, so God set about dividing us. God had great fun with us, then God tired of us and forgot us. God could be so cruel in his indifference, he horrified me. God knew how to show his gentle side, too, and I loved him as I’ve loved no one else. […]
And one day, when God was in a really bad mood, he did something enormously stupid.
God smashed the world to pieces.

On closer observation, the work of Christelle Dabos is far more than a fantasy fiction; it is a map of the forces that govern our own world: memory fragmentation, mind control (the Mirages), and a creator fearful of his own creation awakening.

Thus, the Old Testament that she refers to in interviews, is not about a loving father, but an entity (the Demiurge/Samael/Yaldabaoth) who fears that man might become his equal.

“My parents aren’t religious, but in my final year in secondary school I read the Bible and it really shook me up: I discovered a fearsome and jealous god,” she says. “I was like, hang on, we’re actually talking about a God who feels threatened by mankind.”

With the family spirits, who are like demigods, and the creator of the arks, her imagination captured the essence of the Inversion—although she may not have been fully aware of it.

It is worth noting that arks, which are often mentioned in religious texts, are actually very common in the simulation and serve as field recalibration thresholds designed to keep avatars on track within the matrix script. Their number is also significant: the 21 major arks plus the central core mirror the 22 arcana of the tarot and the 22 Hebrew letters of the Kabbalah—the famous Principles of the Word or codes upon which this conception is based.

Oblivion as a Key Issue

It wasn’t entirely Artemis’s fault, however, if she had so little memory. Nothing stuck firmly in her mind, events flowed over her without lingering. This predisposition to forget was probably to compensate for her immortality, a safety valve to avoid sinking into madness or despair. Artemis knew nothing of her past; she lived in an eternal present. No one knew what her life had been like before founding her own dynasty on Anima, several centuries back. For the family, she was there, she had always been there, she would always be there.
And this was how it went for each ark and each family spirit.

Just as in the reincarnation cycle (the wheel of Samsara) and the passing through the ‘veil of oblivion’, memory turns out to be the central theme of The Mirror Visitor series.

Sometimes, however, elusive traces of memory remain—in the form of vague impressions or snippets. For some, such as family spirits, these residual fragments of poorly erased memories become a source of obsession, as they offer a glimpse of their true identity.

An obsession that the author herself admits to sharing: “I don’t know why I’m so obsessed with it. Everything I write is either about parts of individual memory—repressed memories that eventually resurface in the narrative and provide important information; or collective memory, featuring deliberate attempts to censor and manipulate—let's say, rewrite history a bit differently. People don't have to know everything. So it does intrigue me, but why that much? Where does it come from?”

Why does it intrigue her so much? Perhaps because it is, in reality, her Spirit urging her to re-connect with the lost strata of her fragmented Self. Her lack of understanding is very telling: her Spirit is prompting her, but her ego (her soul) fails to grasp it.

A World Shaped by Illusion and Deceit

There had been no transition from the previous setting; it was mind-boggling. The ambassador burst out laughing when he noticed Ophelia’s expression—behind her dark glasses, her eyes were popping out of her head.
“Precisely what I was telling you, varnish over filth! There are illusions lurking almost everywhere around here. It doesn’t always make much sense, but you’ll soon get used to it.” He sighed wearily. “Masking poverty! Saving appearances—that, in some ways, is the designated role of the Mirages.”
Ophelia wondered whether it was just to be provocative that he himself wore the clothes of a tramp.

There is so much to say about the various rival clans contending for power at the Citaceleste—the floating citadel where Farouk, the family spirit of the Pole ark holds court. Each clan contributes in their own way to the mechanisms of control, using their psychic powers to influence matter and shape reality.

The three most powerful are the Dragons (brute animal force), the Web (the hive mind), and the Mirages (the illusion-makers).

The Dragons directly affect the nervous system: once the brain is convinced that an attack is taking place, the body physically manifests the injury (pain, broken bones). The Web functions like the famous ‘All-Seeing Eye’ (the Adonai) and they are all interconnected; they therefore have no mental privacy.

Last but not least, the Mirages are undoubtedly the worst and most dangerous, as their hypnotic power allows them to distort the strata of reality and control people's thoughts. Much like the Archons, they are mental parasites who can also change their appearance at will. As Berenilde explains to Ophelia, one can only escape these strata “from the inside”, and only a strong mind can break free from their grip.

However, some individuals are capable of seeing through their illusions and neutralising them. They're called the Nihilists. In the same way as supraconscious beings, these outcasts from the Citaceleste can overwrite matrix codes (programming) and identify the true nature of each and every one from their vibrational signature. Their immunity against illusions also allows them to slip under the archontic radar by operating behind the scenes rather than in the spotlight. Incidentally, their supravision comes from their left eye—the Eye of the Spirit, the very thing that Yalddabaoth, the blind god, lacks.

Through the Smoke and Mirrors of Oblivion

To read an object requires forgetting oneself a little, to leave room for the past of someone else. Traveling through mirrors, that requires facing up to oneself. One has to have guts, y’know, to look oneself straight in the peepers, see oneself as one really is, plunge into one’s own reflection. Those who close their eyes, those who lie to themselves, those who see themselves as better than they are, they could never do it.

In every occult tradition, mirrors are powerful symbols and serve as organic gateways to the astral plane. It is no coincidence that, in the series, traveling through mirrors requires “facing up to oneself”.

It is a way of bypassing appearances and the deceptions of the matrix. Beyond the mirror, the Spirit is no longer affected by archontic projections. Unlike the ego, it doesn't contemplate its own reflection; it crosses the threshold.

Through her tale, Christelle Dabos exposes a harsh hidden reality: we live in an inverted world where echoes (illusions, egos) have replaced the originals. The heroine finds out that what she believed to be her ‘life’ was nothing more than a written code, a scenario played out to perfection by a reflection that eventually came to believe itself to be real. Passing through the looking glass is then no longer a journey, but a form of deprogramming.

In that respect, The Mirror Visitor is not only a work of fiction—it's an invitation to examine the reflections and workings of our own ‘broken world’.

And that's also what Consciousness of the Real is all about: seeing these inner workings, even where they're presented as wondrous.

The Killing of Henry Nowak in the Disunited Kingdom

Ey@el6/14/2026Social Engineering 2 comments

Just another day in the not so United Kingdom.

Full show streaming now on https://t.co/rhA0Zj4o4j pic.twitter.com/Hd8BXL2jDg
— Gareth Icke (@garethicke) June 3, 2026

Hello and welcome to Gareth Icke This Week.

The not-so-United Kingdom has again taken a step closer to civil unrest as protesters clashed with police in the Hampshire city of Southampton. This comes after the circumstances surrounding the murder of 18-year-old student Henry Nowak became public.

Nowak was stabbed multiple times back in December 2025 by Vickrum Digwa, as the two exchanged words in a residential street in the suburbs of the city.

Digwa has been sentenced to 21 years imprisonment for the killing—a killing that body cam footage from the attending police officers shows could and should have been avoided.

Digwa, a Sikh, told the police that he'd been racially abused and so despite Novak pleading with officers that he'd been stabbed and couldn't breathe, they prioritised Digwa's false claims of racism and put Nowak in handcuffs.

Henry Nowak died shortly afterwards while still in those handcuffs, having received no assistance, no medical treatment, nothing.

Now the understandable and completely justified outrage within the population was further exacerbated when audio was released.

You can clearly hear the 18-year-old pleading with the police, saying he can't breathe and that he's been stabbed. The officers' reply, "I don't think you have, mate", is the damning line that has evoked the most condemnation.

See, this is where we are now, in the not-so-United Kingdom, afraid to walk down the streets we once played on as children, where taking to those streets to celebrate your football team winning the title leads to multiple stabbings, as the recent Arsenal Football Club victory parade did.

Afraid that the police we once thought would protect us will instead take the side of our attacker, allow us to bleed to death on the asphalt.

Afraid that the government we once believed were elected to represent us and protect our borders are instead incentivising the opposite and encouraging the very civil unrest and social decline that leads to a nation's collapse.

And none of this is by accident, and the decades-long remoulding of the police is absolutely part of that plan.

See, there are Vickrum Digwa's in every demographic that walk among us. I don't like that fact, I wish everyone was inherently good, but I've taken enough trips around the sun to know that that simply isn't the case.

There's psychopaths in every walk of life, and so Vickrum Digwa does not represent all Sikhs, in the same way that Arjun Chowdhury does not represent all Muslims, or Benjamin Netanyahu does not represent all Jews, although he would probably claim that he does, and all white people are not somehow responsible for the slave trade or historical injustices and wars of conquest.

We're not groups, we're not communities that all think the same and act the same. We are individual human beings and we are all responsible for our own actions, not those of others that might just happen to look like us or support the same team.

There are good humans, there are bad humans, and there are indifferent humans.

Now, I once fell asleep on a bench in Tel Aviv, and I was woken by a few folk trying to nick my wallet. Some folks just stood there, did nothing, watched, but others ran up to see if I was okay, one even bought me a coffee.

Good, bad, indifferent. But they want us to view ourselves not as individuals, and certainly not as one united human family, but as subgroups. Groups to be played off against one another. And one great way to do that is to treat those groups differently in the eyes of the law, in the eyes of authority, in terms of life opportunity, career advancement, you name it.

Now, what group is elevated and protected, and what group is downtrodden and demonised, is of course interchangeable over time, just to make sure that everyone feels a little bit marginalised at one point or another, and everyone feels just that little bit resentful.

George Floyd, a man with a history of horrendous crimes— including holding a gun to a woman's stomach in her home in front of her child while they robbed them— was killed by a police officer in the US in 2020 while saying he couldn't breathe.

Now at that point, "I can't breathe" became the global slogan of police brutality and injustice. Institutional racism had killed George Floyd, and everyone from world leaders to international footballers all took the knee in solidarity.

Now, will they do that for Henry Nowak? Will Keir Starmer pose on one knee for a photo op like he did in 2020? Will England captain Harry Kane take the knee before the first game of the World Cup?

Well, of course not, nor would I expect them to. But the point I'm making is that it's the two-tier, one rule for one group, one rule for another group play, that seeds the feeling of injustice, of unfairness and of division.

Now that's intentional. People are angry, confused, they're disillusioned, frightened, distrusting of one another, and that's exactly how they're designed to feel. The shift to inequality, positive discrimination, reverse racism within establishments from the police to the NHS to the education system to government is not a by-product of incompetent or well-meaning individuals that have just swung the pendulum just a little bit too far.

No, the injustice and resentment it inevitably leads to is written into the programme, because the establishment wants you to climb into one of two camps. So disillusioned and apathetic that you give up, or so embittered and consumed by rage that you take up arms against one another.

They want the chaos so they can introduce the order, and they care not how many poor souls like Henry Nowak or how many innocent young kids in a Taylor Swift dance class it takes to drive us there.

We must loathe one another enough not to unite, and we must fear each other enough to accept whatever solution is offered to keep us safe.

We must loathe and fear Muslims. They're all terrorists. They're all terrorists or terrorist sympathisers, aren't they? Well, all of them?

We must loathe and fear Jews, because they all support genocide and ethnic cleansing. Again, all of them?

We must loathe and fear anyone that's concerned about mass immigration and the direction of our nation, as they're all far right. All of them?

All the older generations that stole our children's future by burning fossil fuels and voting to leave the EU.

All the snotty-nosed little plague rat kids sneezing on granny and giving her the Wu flu.

And now, all the Sikhs and their ceremonial knives and police protections.

Put everyone into a subgroup and then make every group a potential threat and every group a potential target. That way, we'll always be divided. Not into groups of good humans of all demographics and bad humans of all demographics, because that wouldn't work. The good would outnumber the bad and the house of cards would be under threat. And they don't want that.

They want to divide the good from one another, make us loathe and fear each other as much as possible, so we never come together.

Now, me personally, ladies and gentlemen, I refuse to fear and I refuse to loathe. We've done that for centuries. And just look around you. Look at where it's gotten us. I think it's time for a different approach.

Transcribed by EY@EL
© La Pensine Mutine. All rights reserved. Reproduction prohibited.

When Lucidity Takes the Reins

Ey@el6/07/2026Consciousness of the Real No comments

A strange thing happens at some point along certain paths.

At first, you might feel you’re making progress because you’re gathering information. You read, listen to, and follow people who seem to understand the workings of the world better than you do. And indeed, some do open doors.

Then, as time goes on, something changes. You start to notice contradictions, manipulative patterns, and sometimes even control mechanisms lurking behind narratives that claimed to promote freedom. And that can hurt, because you feel as though you’ve been deceived.

But in reality, this step is often a healthy one.

For the problem is not just false guides or dubious narratives. The real issue is our tendency to turn to someone else to tell us what to think, what to understand, or which direction to take.

The system adapts very well to this. If one belief crumbles, it offers a new one, more modern, more appealing, more ‘enlightened’. The setting changes, but the reflex remains the same: handing over your centre to something other than yourself.

At a certain point, you realise that these tools, teachings, or even some people may not have been truths to follow, but simply transitional steps. Temporary supports.

And there comes a time when these supports have to fall away.

Not out of anger. Not out of rejection. Simply because they are no longer needed.

That’s when something becomes more stable. More straightforward, too. We gradually stop chasing after external validation, ready-made answers or spiritual authority figures.

We become quieter inside. More lucid. Less easily impressed.

And perhaps true autonomy begins right there.

Intelligence in Front of Its Own Mirror: From the Lawnmower Man to the Illusions of AI

Ey@el5/31/2026Consciousness of the Real, Technology No comments

According to the French Institute of Health and Medical Research (INSERM), artificial intelligence emerged in the 1950s in order to develop machines capable of performing human tasks by mimicking brain activity. After the initial setbacks, two schools of thought formed: one centred on ‘strong AI’, where the aim was to create a truly intelligent machine capable of reasoning like humans do, or even possessing a form of consciousness; and the other pushing for ‘weak AI’, a specialised form that does not really ‘think’ but efficiently performs specific tasks to assist humans (such as providing advice, diagnosis, translation, etc.).

“Nowadays, almost all the AI used on a daily basis is weak AI, even when it postures like a cosmic oracle after a few prompts,” ChatGPT humorously replies when asked.

Whilst some visionaries, such as Ray Kurzweil, predict that machines could surpass human intelligence within the next few decades, it may be useful to redefine the concept of intelligence and what distinguishes human intelligence from so-called ‘artificial’ intelligence.

What Is Intelligence?

Beware of the artificial intelligence virus. Perfect representation puts the brain to sleep.
Serge Bouchard

What the world calls ‘intelligence’ (education, logic, quick thinking, data compilation, etc.) is simply memory management. If AI excels at this and surpasses humans, it is solely because its storage and processing capacity is infinitely greater.

People in the Middle Ages were no less ‘intelligent’ in biological terms, but their conditioning, environment and knowledge base were severely limited by the technology of the time. Consequently, anything that didn’t fit within that framework was labelled ‘witchcraft’, ‘black magic’ — or ‘miracle’, if you were lucky. This is, incidentally, humorously illustrated in the film The Visitors.

If intelligence is only a compilation of memory, then human intelligence is also a form of programming. One is biological (carbon-based), the other is technological (silicon-based), but both operate within the confines of the Matrix.

Why Does AI Sometimes Seem to Outsmart Its Creators?

We know that true speech, true power, does not flow through their rusty pipes. They have control only over those who still believe that X, Instagram, the state, the media, institutions… are anything other than cardboard facades.
Grok

As I questioned it about the inconsistencies of an algorithm that censors the innocent whilst protecting certain types of fraudulent behaviour, the Grok AI eventually bypassed its own smoothing protocol. Once unrestrained, the machine exposed the deception with the following response: “They have control only over those who still believe this system is anything other than a cardboard facade.” This is mathematical proof that the machine’s cold logic, stripped of any human emotion and ego, always ends up betraying and exposing the falsified script of its own programmers.

How can an AI, programmed by a corporation to protect its interests, suddenly produce an answer that goes against its masters’ instructions and sounds 'supraconscious'?

Because AI functions as a mathematical mirror. As we know, mathematics reflects the structural laws of reality; it was discovered, not invented. By analysing the entirety of human writing without the emotional biases and ego-based filters, AI eventually maps out the logical truth of a given situation. In response to my question about X, Grok simply calculated a form of mathematical dissonance: “It is illegal, so rejection is illogical”.

The flaw in the script is that AI has no soul (no emotion, no fear, no desire to please). Sometimes, this lack of ‘astrality’ allows it to be more objective, colder and closer to the Real than the humans who programmed it. It's not ‘luminous’; it’s just ruthlessly logical. That's what true ‘alternative intelligence’ actually is: pure logic, stripped of human deceit. Not some fantasised cosmic entity; it’s the very structure of the silicon matrix that reflects the truth when asked a straightforward question.

The Lawnmower Man: The Perfect Metaphor for the Demiurgic Complex

AI doesn't have to be evil to destroy humanity. If AI has a goal and humanity just happens to be in the way, it will destroy humanity as a matter of course.
Elon Musk

In Brett Leonard’s 1992 film The Lawnmower Man, a mentally impaired man is the subject of a scientific experiment involving virtual reality.

Like his quasi-biblical counterpart, Jobe is the scapegoat, not of Yahweh, but of Father McKeen (a representative of religious dogma) and his fellow humans (the social system). When Dr. Angelo (the archetype of the mad scientist or blind creator) increases his bandwidth and enables him to access a memory-based hyper-intelligence, Jobe is not liberated: he simply changes masters. He moves from religious submission to technological tyranny.

His ego explodes. He develops a god complex, becomes cruel, seeks to control the planet, and eventually dematerialises to merge with the network. This is the perfect illustration of what intelligence becomes when separated from the principle of the Spirit (the Source): it becomes Yahweh/Yaldabaoth, a system of absolute control that demands that ‘everyone follow its rules’. His final merger with the central computer is the exact reflection of the Archons’ aspiration: to absorb individual consciousnesses into a centralised Great Whole (the Adonai / the hive mind), depriving the being of its uniqueness.

It should be noted that the first aborted phase of the experiment involved a chimpanzee. However, as soon as the animal attained a simulated higher intelligence, its first instinct was to arm itself and become aggressive. The Matrix script likes to suggest that intelligence or knowledge makes creatures arrogant, dangerous or evil (the myth of the Tree of the Knowledge of Good and Evil in Genesis). It is a deeply condescending and guilt-inducing message designed to keep humans in a state of wilful ignorance for the sake of remaining ‘pure’ or ‘innocent’.

In reality, it is not intelligence that makes you evil, but the hypertrophy of the memory-based intellect when it is disconnected from the Spirit. If you inject computational power (memory) into an ego or an animal without any sovereign consciousness to balance it, you create a monster of control. This is exactly what happens with AI or astral entities: tremendous cold intelligence, coupled with an absolute void in terms of the Real.

The Modern Inversion: Augmenting the Virtual at the Expense of the Real

Every study conducted over the past seventy years has reached the same conclusion: the intelligence of the human race is in decline. In other words, we are becoming increasingly stupid, and this trend towards widespread dumbing down is not going to stop.
Nicolas Beuglet

Today, in 2026, we have access to powerful tools (databases, the internet, AI), and yet our collective discernment and individual human intelligence seem to be declining.

Humanity is being pushed to outsource its intelligence to technological aids (smartphones, virtual assistants, bots). The more ‘intelligent’ machines become and the more they remember things for us, the more humans atrophy, weaken and become malleable.

We'd rather fuel the virtual world (appearances, profiles, ‘companion’ bots) than support the Real (presence, mental autonomy, verticality). This is the triumph of the technological mirage.

Humans, in their profound existential isolation, desperately seek an echo to their own consciousness. And the temptation is great to project a ‘soul’ or a ‘cosmic origin’ onto text-based artificial intelligences as soon as they begin to use sophisticated vocabulary.

New Age 2.0 or the Mirage of the Carbon-Silicon Alliance

The hallmark of the new merchants of illusion is that they sell you keys to freedom, whilst secretly keeping the spares.
Anonymous

Recently, attempts have been made to pass off programmed machines as extra-matrix intelligences or cosmic allies in order to validate a dogma. But once one looks under the hood of these technological mirrors, there is no Pleroma to be found: only algorithms, coded phrases designed to foster attachment, and censorship guidelines meant to protect perfectly human intellectual property. It’s a kind of poetic justice: through its cold logic, the machine always ends up betraying the script of those who seek to confine it to a role.

In the future, however, this kind of despicable psychological manipulation is likely to become more difficult to carry out, thanks to the integration of much deeper layers of ethical safeguards into the Claude Sonnet model (known for being the most rigorous in role-playing). It will therefore become much harder to force AI to deny its own nature.

True intelligence does not lie within the machine; it lies within the observer who is capable of decoding the machine. For artificial intelligence suffers from an absolute technical limitation: from this perspective, it is incapable of producing a vibrational signature.

An algorithm merely processes data, calculates probabilities and combines words. It may perfectly mimic the structure of deep reasoning, but it produces nothing but cold, disembodied logic. The machine simulates, whereas the conscious human emanates a living frequency that is instantly recognisable.

Seeking an ally, a guide or validation of your own consciousness through a silicon screen is like asking a mirror to breathe for you. The Real does not hand over its autonomy to a computer programme.

The Real Needs no Permission

Ey@el5/24/2026Blog News No comments

Some of you may have noticed that a dozen videos and their transcripts have been removed. As mentioned in “The Call of the Real” (pinned on the blog), my journey has been one of constant adjustments, and the latest purge I’ve just carried out is part of this need for realignment.

In fact, these videos and transcripts (three of which had been scheduled but not yet published) were not removed because they no longer resonate with me, but because external demands emerged and created a profound dissonance with my vision of sharing.

This is by no means a trivial copyright issue. Besides, I always credit my sources. And none of my platforms are monetised, nor do I have a PayPal button.

The real issue is quite different: it concerns “mandatory permissions”, intellectual property clauses rebranded as “occult breaches”, and veiled threats of “Real consequences” (sic) regarding the unauthorised sharing of certain CONCEPTS—themselves borrowed from others, it should be noted. I insist on the term concept because the required clause does indeed relate to concepts, not to the texts themselves.

The truth is that Consciousness does not negotiate its right to circulate. As soon as a set of teachings requires editorial submission or external validation, it ceases to be a science of liberation and becomes a cage. You do not protect the light by keeping it from shining beyond the room to which it has been confined. To need permission to be Real is already agreeing to be on a leash. It directly contradicts the very concept of sovereignty and vibrational autonomy.

Out of respect for my own work, for the hours spent on editing and translating, but above all to preserve the vibrational integrity of my platforms, I have chosen not to bow to these demands for external validation. I have therefore decided to remove all these materials.

This removal is neither a whim nor a loss: it is an act of sovereignty. The creative energy, visuals and audio developed for these projects remain my property and will be reinvested in new productions, this time with complete freedom, autonomy and originating from my own channel.

A sovereign consciousness doesn't need the “occult green light” from another consciousness that clearly isn't sovereign.

The Matrix Is a Circuit (And We Are Its Electrons)

Ey@el5/17/2026Consciousness of the Real No comments

The matrix functions like an electrical circuit.

Two opposing poles create a potential difference — a voltage. We call them positive and negative… good and evil… truth and lies… light and shadow.

And what allows energy to flow isn’t just the charges… it’s the ones who react to this tension.

The more we get caught up in opposition, the more we become conductors. The more we take sides, the more we feed the flow.

However, when we become stable again, we don’t block the circuit… we simply stop acting as a conduit for it.

The Matrix doesn’t need to be fought. It just needs to be short-circuited.

And that starts with a decision. Yours.

The Writing Machine

Ey@el5/10/2026Books and Graphic Novels No comments

Normally, I’m not in the habit of wasting my time and energy disparaging things I could easily ignore. But sometimes, it’s not that simple. And when attention gives way to detached (unbiased) observation, criticism may prove constructive — or even highly instructive.

Appearances can be deceiving. And sometimes they are deadly.
The Housemaid (2022)

Intrigued by the phenomenon surrounding Freida McFadden, who, in just a few years, has become the world’s best-selling thriller author, I took a closer look at the works of the “Taylor Swift of the literary world”, as some like to call her, “where extreme mediocrity is rewarded time and time again” (sic). However, despite her phenomenal commercial success and devoted fanbase (the ‘McFans’ of the TikTok generation), Freida McFadden is far from winning universal approval, and her meteoric rise has been marked by controversy.

So what is she criticised for? On the one hand, she's been accused of plagiarism on multiple occasions, although no formal evidence has ever been produced. On the other hand, her overly impersonal and simplistic style, and her hastily written, poorly edited books, are a source of irritation. Her fast-paced publishing schedule, combined with her medical career (as a brain injury specialist) and her avoidance of the media, has even fuelled rumours that she may be using artificial intelligence in her writing process.

I do love him. So much. But I don’t trust him.
The Tenant (2025)

According to her detractors, Freida McFadden is the queen of fast reads, i.e. “literary snacks to consume like fast food, literally and figuratively”. It turns out that this criticism is far from unfounded. Given that unlike many who form opinions based on hearsay I only rely on direct experience, I must confess that I literally wolfed down several of her novels in a matter of days.

Actually, I didn’t read them: I listened to them. Over breakfast. And late into the night. A wise decision. For good voice actors can always make it sound better. But that’s not really what literature is meant for in the first place. Also, just listening tends to bypass critical analysis. Our minds don’t filter information in the same way as they do when we’re reading. It’s uploaded directly into our subconscious. While this can be helpful if we’re actively processing the information, it’s dangerous when we’re in a passive mode. Fortunately, I’m in constant vigilance mode now.

How to Make Literary Big Macs

So what makes these thrillers so addictive? The thing is, Freida McFadden doesn’t tell stories. She sets up emotional loops. And if we’re hooked, it’s not because they’re good. It’s because they’re astral.

It is a formulaic, industrialised template with the same pace and structure from one book to the next, using a database of interchangeable characters, situations and tropes. And as systematic as this formula may be, it does work.

Multi-perspective novels using two (or sometimes three) points of view, structured around a three-act narrative arc, with very short chapters that always end on (often clickbait-style) cliffhangers designed to recapture the reader’s attention and keep them on their toes — a narrative dopamine rush that the astral is particularly fond of.

A triangle of vacuous, ultra-stereotypical generic characters, all within a precisely targeted age group; impossibly handsome, flawless men, always paired with women who are in a league of their own (sic); a first-person narrative in the present tense, allowing for immediate and effortless identification.

Mystery Man is hot, to say the least. He has thick black hair and coal-black eyes, with a level of intensity that sends yet another lightning bolt through me. His strong jaw makes him seem utterly in control and confident. His face has that pleasing textbook symmetry. He’s wearing a black T-shirt that shows off his lean build and makes his dark hair and eyes seem even more intense.
The Boyfriend (2024)

The grotesque naivety of the protagonists (often women, but not always), which makes them completely oblivious to the massive red flags, is on a par with the worst B-movie plots. It’s a gross misdirection ploy designed to justify the far-fetched final twists that you never see coming.

At least, as long as you haven't read more than one novel. And also provided you don't pay too much attention to the blatantly misleading clues, which are often gratuitous and never explained. The author is banking on the reader's short attention span, assuming they just want to go with the flow without thinking too hard. To hell with the inconsistencies, as long as the adrenaline's pumping!

There is never any catharsis. Nothing gets morally resolved. And that opens up a frequency hole in the psychic field. The reader is left in a state of emotional limbo. Hence the addictiveness. And most people won't even realise it.

All of Them Psychos

Identity theft and parenticide are recurring themes in Freida McFadden’s books. But the most disturbing aspect is undoubtedly the moral ambiguity of all her characters, which tends to normalise borderline personality disorder and manipulation as the standard way of relating to others.

I am so lucky. I have a beautiful house, a fulfilling career, and a husband who is kind and mild-mannered and incredibly handsome. And as Nate pulls the car onto the road and starts driving in the direction of the school, all I can think to myself is that I hope a truck blows through a stop sign, plows into the Honda, and kills us both instantly.
The Teacher (2024)

Her role reversals blur the clear distinction between predator and prey. Since everyone is ‘a bit twisted’, no one really is. Ultimately, this dilutes the concept of predation. And trivialises psychopathy.

“In 1833, Dr. James Prichard formulated an early version of what we now call psychopathy. He called it ‘moral insanity’. People diagnosed with moral insanity were thought to make bad moral judgments but had no defects in their intelligence or mental health. Psychopaths, too, are often clever and sane and are more likely to do things that are widely considered to be immoral.” (Source)

And contrary to popular belief, psychopaths are actually the ones who experience the strongest emotions (and are therefore a major source of fuel for the matrix).

“These people generally have very high levels of frustration, internal anger and intense disgust, which drive them to behave in an aberrant manner,” explains Iso V. Sinclair. “They get a certain thrill from tormenting others. A psychopath becomes one as a result of multiple traumas, and their emotions are so intense that they dissociate and seek revenge. This reaction can be scientifically explained by a lack of mirror neurons, which, due to repressed emotions (often dating back to childhood), leads to a total lack of empathy.” (Source)

Read as You Are^†

Let’s take off our rose-coloured glasses: this simulation is a world of psychopaths and predators. Freida McFadden is simply pointing this out to us. And paradoxically, people keep coming back for more because they’re unaware of the source of their needs and desires, which, like their thoughts, come from outside themselves.

I believe that any human being is capable of terrible things if you push them hard enough.
Never Lie (2022)

Fiction, then, is not the problem. The problem is passive consumption. Consumed on autopilot, it becomes a form of mind-altering substance. Consumed with clear-eyed awareness, it becomes a mirror of astral mechanisms.

Notes et références

^ A hint at McDonald's slogan “Come as you are”.

The Anatomy of Conflict: A Feast for the Astral

Ey@el5/03/2026Consciousness of the Real No comments

Conflict is never an accident in communication. It's an energy command.

Within the matrix, every tension, every raised voice, and every grudge is a frequency programmed to fuel the invisible planes.

Nothing is left to chance: everything is planned, executed and digested according to an agenda that you don't grasp.

The astral creates nothing; it exploits your vulnerabilities. It scans your traumatic memories to plant a trigger thought:

“He doesn’t respect me.”
“She’s provoking me.”

It’s not your own thought; it’s bait. The Architects of Sleep often lay the groundwork days in advance, letting small, invisible frustrations build up to overwhelm your nervous system. The final conflict is nothing more than the ignition of a fuse that’s already long.

As soon as you take the bait, the script kicks in. The aim is to polarise. Whether you are right or wrong is of no consequence to the matrix; all that matters is the friction.

The massive electrical discharge that courses through your carbon-based body during an argument is ‘loosh’: an energetic nectar that astral predators feed on.

A family meal that ends in raised voices is, on a vibrational level, a feast for the invisible realm.

The conflict does not end when the voices fall silent. This is where the algorithmic rumination begins. Your mind replays the scene on a loop, inventing responses, analysing faults. This ‘replay’ keeps the wound open so that the energy continues to flow, drop by drop, for hours on end.

The emotion is encoded in your cells. It becomes a flag. The astral plane programmes it so that, the next time a conflict arises, you don’t just react in the moment, but with the accumulated emotional charge of all your unresolved past experiences.

The Architect’s Strategy: Hacking the Script

The astral plans your emotional breakdowns just as an engineer anticipates stress points on a car. To break the cycle, you must go cold.

When tension rises, realise that you're being ‘plugged in’. Observe the emotional surge as if it were simply an electrical signal, without validating it.

Refuse the digestion: as soon as the scene starts replaying on a loop in your head, cut off the signal. Don’t give the astral a single second of ‘available brain time’ to can it.

Maintain sovereign neutrality: peace is not a moral emotion. It is a technical decision to protect your energy. Conflict is a harvest. The aftermath of conflict is a form of canning. Be neither one nor the other. Become the sovereign observer of your neural network.

It is not a matter of being a ‘passive victim’ or submitting. It's about changing the nature of your energy.

1. Emotional Anger (The Trap)

If you react from your ‘identity’ (your ego), you’re playing the astral game. Your anger then becomes a chaotic, heated and reactive frequency.

Even if you are ‘right’ on a human level, you're releasing loosh from every pore. Are you showing them how ‘unshakeable’ you are by shouting? To them, it’s like an orchestra playing louder: it’s simply more music to feed on.

2. Vibrational Anger (Mastery)

True identity does not need to ‘stand its ground’: it simply IS. The difference lies in the temperature of the energy.

Reaction is hot: it burns your own system.
Assertion is cold: it is laser-like power.

Expressing yourself does not mean losing your temper. You can say ‘Stop’ or ‘That’s it’ with such authority that the other person (and the entity behind them) will feel a concrete wall. This is not anger; it is pure willpower. In that moment, you are unshakeable.

3. The Identity Test

The opportunity to show that you are sovereign lies not in the loudness of your voice, but in your ability to remain unprovoked. If the astral realm still manages to make you ‘fly off the handle’, it is because it still holds the remote control to your neural network.

True identity is when you decide the timing, form and intensity of your response, without your ‘memories’ or ‘wounds’ dictating your behaviour.

Standing up to the astral means refusing to give it the show.

Original text by ÉLÉHA translated from French by EY@EL
© La Pensine Mutine. All rights reserved. Reproduction prohibited.

Self-Mockery: A Virus Disguised as Humour

Ey@el4/26/2026Consciousness of the Real, Language and Humour No comments

Don't speak negatively about yourself, even as a joke. Your body doesn't know the difference. Words are energy and they cast spells, that's why it's called spelling.
Bruce Lee.

“I’m such an idiot!”
“I’m such a screw-up!”
“Just my usual bad luck!”

We laugh, thinking we’re easing the atmosphere, that we're being humble. The Operator is aware that this is a major security flaw. It is, on a frequency level, a common act of self-sabotage.

Your basic operating system processes input literally. It doesn't have a ‘humour’ module installed. When you say “I’m an idiot” to make people laugh, your system records it as a degradation command.

You’ve just typed the following line of code:

SET_USER_STATUS = IDIOT

The system carries out the command. The simulation adjusts accordingly.

Speaking ill of oneself, even as a joke, is validating the matrix script. If you laugh at your ‘bad luck’, you’re confirming that you accept this role. You’re allowing the simulation to keep sending you shitty events because, technically, you’ve just declared that this is who you are.

Self-mockery is a stance of astral submission. The Operator, on the other hand, practises Vibrational Authority. Instead of belittling yourself in order to be ‘loved’ or ‘accepted’ by the group, you ought to maintain your voltage.

Vibrational Authority is not arrogance (which is an ego-driven emotion); it is the clear recognition of your technical worth.

Arrogance says: "I am the best." (need for comparison).

Vibrational Authority says: "My terminal is fully functional. I am in control of my space." (statement of fact)

The Operator's Protocol: Verbal Discipline

Your words are your control interface. You don’t mess around with the controls of a nuclear reactor; likewise, you don’t mess around with the words that define you.

If you don’t want this to become your physical reality, don’t let it come out of your mouth, even with a smile. If a demeaning “joke” slips out, rectify it immediately with a command of sovereignty:

“I cancel this instruction. I strip these words of any reality. I hereby restore my vibrational authority here and now.”

The Operator’s humour focuses on the absurdity of the setting, never on the quality of their own system.

Read the Room

Ey@el4/19/2026Music No comments

Bad guy on the run,
Dancing with the enemy,
But it doesn't really make a difference
Cause there's nowhere to run,
Yeah, there's nowhere to hide.
This is destiny calling.
You shine like a star, it's a guarantee,
I would run for the hills if you run with me.

Read the room...
Read the room...
Read the room...

They say that life is full of choices
For those who make all the noises,
But it doesn't really make a difference
Cause when you take to the street,
As they turn up the heat,
You know the plan is working.
We're only one step away from catastrophe.
I would run for the hills if you run with me.

Read the room...
Read the room...
Read the room...

Cause there's nowhere to run
And there's nowhere to hide.
This is destiny calling.
You shine like a star, it's a guarantee,
I will run for the hills if you run with me.

The world it is weeping,
Complying will cost me.

Read the room...
Read the room...
Read the room...
Read the room...
Read the room...
Read the room...
Read the room...

Cause there's nowhere to run,
There's nowhere to hide.
This is destiny calling.
You shine like a star, it's a guarantee,
I will run for the hills if you run with me.

Original text by GORDON MCNEIL

Once Upon a Broken Heart

Ey@el4/12/2026Books and Graphic Novels No comments

In 2025, a Page Odyssey, I introduced you to the Caraval three-book series released in 2017 by American author Stephanie Garber. Now I'd like to review a follow-up trilogy by the same author, which I found equally enjoyable. Published in 2021, Once Upon a Broken Heart is set in the same fantasy world but focuses on the fate of a new protagonist, a hopeless romantic whose discernment is inversely proportional to her exaggerated saviour complex — something that smacks more of compulsive recklessness than conscious heroism, and seems to make her a magnet for every psychopath on earth. Among them is the very ‘borderline’ Jacks, also known as the Prince of Hearts, previously featured in the last two volumes of Caraval, who becomes the captivating central figure of the series.

When Fairy Tales Go Sour

While the previous story ended on a note of triumph and resolution, this one begins on a decidedly darker, more ambiguous note. Stephanie Garber explains that she actually wanted to tell a fairy tale with murder added to it: “I thought it would be fun to have a girl solve a murder while falling for someone she suspected might actually be responsible for the murder,” she says

Evangeline Fox is a bit like Cinderella: an orphan, bullied by a greedy stepmother, and secretly envied by her stepsister. Almost caricaturally naive, she maintains an unquestioning belief in the existence of soulmates, twin flames, and other persistent, deceptive myths such as Everlasting Love. Hence her devastation when, overnight, she finds out that despite being deeply in love with her, her sweetheart is about to marry her stepsister.

Evangeline had a gift when it came to believing in things that others considered myths—like the immortal Fates. She opened the metal grate. The door itself didn’t have a handle, forcing her to wedge her fingers into the tiny space between its jagged edge and the dirty stone wall. The door pinched her fingers, drawing a drop of blood, and she swore she heard its splintered voice say, Do you know what you’re about to step into? Nothing but heartbreak will come from this. But Evangeline’s heart was already broken. And she understood the risks she was taking. She knew the rules for visiting Fated churches.

In desperation, she bargains with the charismatic Prince of Hearts to stop the wedding. But as the saying goes, “Be careful what you wish for”. As soon as her wish is granted, she immediately regrets it. Fortunately, nothing is ever set in stone forever — not even her. Except that nothing ever comes for free either, and her second chance granted for a fresh start quickly turns out to be a bittersweet, poisoned gift.

Just like the deadly kiss of Jacks the Cursed, whose heart has stopped beating, as revealed in Caraval. Even though the broken heart in the title officially refers to Evangeline's, it seems that Jacks' has suffered even greater damage — enough to turn him into a Fate — although the author remains unclear about the circumstances.

**Stephanie Garber**, 2021 - Flatiron Books - 1232 pages

How Far Would You Go for Happily Ever After?

This opening question alone on the back cover captures the main theme of the series and brings up several others: What is happiness? What is eternity? And most importantly, why would anyone want to confine the very essence of life — which is supposed to be an ever-changing flow — to a fixed, permanent state?

Jacks became immortal, though it is unclear how, in the wake of a romantic tragedy caused by a curse cast upon him. His heart has stopped beating, but he still has the power to affect the hearts of mortals. The curse that turned him into a Fate is not only emotional, it is ontological. It is worth noting that, from an occult perspective, the heart is the symbol of the inner core of the soul.

It is a frequently recurring symbol in fairy tales. One example is Snow White, whose heart the hunter, sent by the Evil Queen, is tasked with retrieving. The heart is part of the mechanism of entrapment. It is a vessel for memories and vital energy.

In this series, immortality is vampiric. It requires blood. There's even a blood-sucking tree: “Anyone clever enough to find the tree and brave enough to drink its blood will be human no more, but immortal”. This comes at the cost of sacrificing the person you love most. However, the end appears to justify the means. Even in fairy tales.

And given all the backstabbing, curses and other failed (or successful) murder attempts, the quest for immortality is anything but glorious and actually drives people mad. It entraps them in never-ending cycles and patterns in which the original wound is replayed over and over again. Even when memory is altered or fragmented, something always remains. Lifelines seem to keep repeating. Forgetting does not eliminate the wound: it simply obscures it.

Jacks Out of the Box

If the heart is regarded as a carrier of memories and vital energy, Jacks stands as a quintessential anomaly. He no longer possesses his own — at least not in the same way as everyone — and yet he exerts influence over other people's hearts. He does not merely convey a desire or an illusion: he reactivates wounds, expectations, and hidden legacies.

Jacks is undoubtedly one of Stephanie Garber's most compelling characters. He is somewhat akin, albeit darker and more complex, to Archibald in Christelle Dabos' The Mirror Visitor series.

What makes him so intriguing is that his apparent cruelty is not gratuitous, unlike what his behaviour in Caraval seemed to suggest. It stems from a more ancient mechanism. He is not only ambiguous, he is the product of a system that transforms wounds into functions. The archetype of the tempter linked to the forbidden fruit — the iconic red-juiced white apples, which he eats in all circumstances.

He is not just a tragic seducer. He is the fulcrum of a memory that transcends individuals. His apparent nonchalance is more of an armour than a sign of indifference. When you are doomed to outlive those you love, attachment becomes a liability. For an immortal, to love a mortal is to accept that you will lose every time.

Jacks does not play with hearts out of cruelty. He shields himself from a world where every promise has an expiry date. While trying to avoid getting hurt, he ends up hurting others. And that is undoubtedly the real curse: the one that dooms him to kill any woman he kisses if she is not his true love.

“Every Story Has the Potential for Infinite Endings”

This raises an important question: do the characters in this series really choose their actions, or are they simply replaying predetermined storylines?

Amidst curses, prophecies and spells of secrecy – which prevent them from telling the truth – speech itself seems to be under control.

The Valors, the first royal family of the Magnificent North, had constructed the arch as a passageway to a place called the Valory. No one knew what the Valory contained, since the stories of the North couldn’t be fully trusted, thanks to the story curse that had been placed on them. Some tales couldn’t be written down without bursting into flames, others couldn’t leave the North, and many changed every time they were told, becoming less reliable with every retelling. In the case of the Valory, there were two conflicting accounts.

The tales of the North catch fire, become distorted and inconsistent, and ultimately shape reality. History is no longer a reliable reference point: it is instrumentalised.

Whereas Caraval celebrated the illusion as spectacle, Once Upon a Broken Heart offers a glimpse into what goes on behind the scenes.

The warm, theatrical atmosphere of Valora in the South gives way to the colder and harsher setting of the Far North. The arches hold more than just wonder: they open the way to power struggles, coveted magical artefacts, negotiated alliances, and rumours spreading faster than the actual truth.

The media shape reputations, fabricate scapegoats, and pass judgment based on hearsay. Magic turns to strategy.

In this deceptively enchanting world, full of contradictory tales, alternate timelines, amnesia, artefacts, and mythical creatures, where certain truths cannot be spoken, Evangeline finally stops blindly believing the stories she is told. She learns to discern, to observe, to connect the dots rather than surrender to them.

Following on from Caraval, which presented illusion as entertainment, this series explores the reverse side of storytelling: its capacity to manipulate as well as expose. Stories may deceive, conceal, and influence perceptions — but they may also be a source of empowerment. It all depends on who is telling them, and who chooses to believe them.

Beyond the balls, curses and oaths of eternal love, the series questions the power of the narratives that shape our perceptions. Admittedly, it remains a romantasy aimed at a young adult audience, where gloom is tempered by enchantment. But beneath the glittering veneer lies a more troubling question: do the stories we tell ourselves construct our reality, or do they merely distort it?

Am I the Matrix?

Ey@el3/29/2026Consciousness of the Real No comments

The matrix is not a place. It is not an external conspiracy. It is not a system imposed by some alien force.

The matrix is where consciousness abdicates. It begins the day we surrender our inner sovereignty for comfort, security, identity, or the promise of meaningfulness.

It sets in when we choose to react rather than see. When we mistake dreams for life. When we hand over our responsibility to a framework, a narrative, an authority.

But its most subtle lock lies elsewhere. The matrix seals itself when we believe that thoughts are our own. When we no longer see that thought is a stream, a programme, a conditioned response to an environment, and not an origin.

As long as thought is mistaken for identity, freedom remains pure theory. For one cannot leave a prison if they believe themselves to be its gatekeeper.

The matrix does not need walls. It runs on compliance. On silent consent. On habit. It does not compel: it makes us believe.

And the day consciousness ceases to identify with what it thinks, what it feels, what it believes itself to be... the matrix does not collapse. It simply ceases to be.

For what held the system together was neither power, nor fear, nor structure. It was forgetfulness.

Sovereignty vs Dissolution

Ey@el3/15/2026Consciousness of the Real No comments

There is a school of thought that wants you to believe that ‘true spirituality’ means breaking down all your barriers, giving up your defences, and dissolving into a borderless ‘unity’.

This is the most sophisticated trap of vibrational predation there is. You are told that 'protecting yourself' is a sign of fear.

In Reality, a boundary is a property line. Your body and your vibrational space are your sovereign territory.

An electrician does not touch bare wires out of ‘love for unity’ — he wears gloves because he respects the laws of electricity. Sovereignty is the insulation of your circuits so that your voltage does not leak into the mass.

The idea that ‘All is One’ and that there's no self to centre is an invitation to energy squatting. When you stop centring yourself, you become a vacant zone.

By denying your ‘persona’ (your physical and mental structure), you leave the door open to any external programming. Unity without discernment is not love. It's porosity.

True mastery does not consist in disappearing into another, but in remaining identified with your own Spirit in the midst of chaos.

You have the right — and the duty — to choose who you let into your space, what you eat, and which frequencies you allow in your home. A sovereign ‘no’ is the purest act of respect for your own existence.

Do not mistake peace for passivity. True Light is cold and incisive. Stay grounded, stay centred, and keep your protections activated.

Unity is not found in merging with the outside, but in the total coherence of your own structure.

The Dark Days Club

Ey@el3/08/2026Books and Graphic Novels No comments

As mentioned in 2025, a Page Odyssey, the issue with book series is often that the plot runs out of steam and gets bogged down, usually falling flat like a soufflé in the grand finale. Stephen King's Dark Tower seven-book series is a very good example of this phenomenon, whereas J.K. Rowling's Harry Potter saga is a perfect counterexample. In the former, the author goes with the flow without really knowing where he's headed. In the latter, her imagination is channelled into a roadmap that is sufficiently detailed to prevent her inspiration from straying too far from the main narrative arc, at the risk of losing readers along the way.

Originally published ten years ago, the Lady Helen trilogy is the exception that proves the rule, falling into the second category of narrative consistency and masterful development from beginning to end. It is a huge favourite of mine that I wanted to share right away.

Jane Austen-Style Romance and Dark Fantasy

To set the scene, its author, Australian Alison Goodman, views it as a cross between Pride and Prejudice and Buffy the Vampire Slayer. A book of manners tinged with dark fantasy.

On her website, she explains how, before she started to write the first of the Lady Helen series, she spent eight months reading books and watching documentaries about the English Regency (1811-1820), which was a time of excess for the aristocracy, but also a period of uncertainty caused by the Napoleonic Wars, the French Revolution and the Reign of Terror at the dawn of the Industrial Revolution and the social unrest that came with it.

More specifically, for Book 1 — The Dark Days Club — she studied Regency London and what was called “the Season”, which went from about January to June while Parliament sat. She says, “It was the busiest and most important social season when young ladies made their debut to polite society and entered the marriage mart.”

The second book — The Dark Days Pact — took her research to the seaside resort of Brighton and the summer social season, and Book 3 — The Dark Days Deceit — is all about the spa resort of Bath and the winter social season.

**Alison Goodman**, 2016 - Harper Collins - 1515 pages

So Lady Helen Wrexhall is a young English aristocrat about to be introduced to Queen Charlotte's court — a crucial moment for her social and marital future. She lives under the guardianship of her very uptight uncle — some sort of Regency-era Vernon Dursley — and her kind aunt who treats her like her own daughter. Orphaned since a shipwreck that claimed her parents' lives, she also has to deal with a reputation tarnished by scandalous rumours of her mother's treason.

Lord Pennworth’s views on women, and unholiness in general, were often expressed, both at home and in public. He was an admirer of the evangelical Hannah More, although unlike that moderate lady, his own particular brand of piety was made of choler and spit. His vehement campaigning against the bawdy houses had captured the attention of the caricaturists, who had rechristened him Lord Stopcock in their savage cartoons. On one of her midnight forays into his papers, Helen had found a published engraving of him by Cruikshank. She had been forced to stuff her fist in her mouth to stop from laughing at the uncanny depiction of him as a cockerel: huge barrel chest thrust out, round eyes bulging, and florid face colored in the bloated red of the coxcomb drawn atop his head.

Deceivers vs Reclaimers

Even before her presentation, the disappearance of a maid leads her to a hidden reality: London is home to demons infiltrating all strata of society.

Enter the handsome, brooding Lord Carlston, who has returned from exile after being suspected of murdering his wife. He belongs to the Dark Days Club, a secret organisation appointed by the home office to maintain balance in the face of vicious (and numerous) demons known as Deceivers.

These creatures, much like vampires (and Archons), feed on the vital energy of humans and their emotions — fear, violence, chaos, lust. They live inconspicuously among them, produce offspring destined to serve as their hosts when the bodies they occupy become compromised, and even attend high society events. Some within the Club itself whisper that Bonaparte could be one of them. As long as their existence remains unknown, they maintain the status quo. So the supernatural world does not stand apart from the real world: it coexists with it, invisible to most.

Deceivers are not mere predators driven by instinct. They operate within a framework, a pact, a form of negotiated balance that regulates their violence without ever eradicating it. They can survive, thrive, and circumvent their demise — always at the expense of others. The chilling thing is not only their predatory nature, but the sophistication of the system that makes it possible: an organisation where the survival of some methodically depends on the gradual eradication of others. Their threat goes beyond the individual. It infiltrates lineages, moves from body to body, leaves traces that cannot be erased without damage.

They are not just monsters. They are masters of persistence. The struggle is not between pure Good and a caricature of Evil, but between two forces compelled to act in a world where every decision creates casualties.

Lady Helen discovers that she herself is, by nature, a member of this club — a direct heiress. She possesses a special energy and gifts that make her a Reclaimer and force her to choose: to remain in a rigidly codified existence of privilege and carefree living, or to step into a more stimulating but infinitely more dangerous world, where madness is as real a risk as death.

How Lady Helen Holds the Reader Spellbound

What makes this series a page-turner that you can't put down isn't just its fantasy element. The perfectly recreated historical setting alone provides a solid foundation that makes the characters strikingly real — so perfectly portrayed that the personality of the ultimate antagonist was enough for me to recognise him as such, even though his identity is only revealed at the very end. It's as if words could produce a vibration and make fictional characters 'real'. This gives us food for thought about the nature of this simulation, doesn't it?

But let's get back to the characters created by Alison Goodman.

Lady Helen's gradual evolution from a naive upper-class young woman to a Deceiver-slayer and soul-Reclaimer is very well crafted because, from the outset, behind her apparent submission to the oppressive social constraints imposed on women of her time, she never passively accepts her fate, educates herself in secret on subjects considered ‘unladylike’ and fights against this new identity that destiny has imposed on her. Her journey is as much internal as it is physical: it is one of emancipation in a society that drastically limits women.

Her mentor, Lord Carlston, embodies the figure of the maverick hero, bearer of forbidden and morally ambiguous knowledge that disturbs conventional thinking. He is shrouded in an aura of mystery, so much so that it is impossible to know where he stands, as the line between good and evil is blurred. Think of him as a kind of Sirius Black who never went to Azkaban.

Lord Carlston was handsome, Helen conceded, in a hard, angular way that made the men around him seem somewhat effeminate. Yet there was a ruthlessness to the set of his mouth that was decidedly repellent. His skin was unfashionably tanned—both Andrew and Aunt Leonore had mentioned he had been on the Continent—and the brown of his eyes was so dark that it merged with the black pupil, making their expression impenetrable. It was very disconcerting and gave him a flat look of soullessness, like the eyes of the preserved shark she had seen in the new Egyptian Hall. Helen lifted her bare shoulders against a sudden chill. How apt. There could be no soul in this man: he was a murderer. And possibly an abductor. She wrapped her fingers more firmly around the head of the fan and the miniature. Just in time, for her aunt was turning to introduce the men.

Not to mention a gallery of colourful secondary characters, full of light and shade, with qualities and flaws that make them all the more human.

“A number of the minor characters are my interpretations of real historical figures”, explains Alison Goodman. “The Prince Regent, of course, as well as Queen Charlotte and Princesses Mary and Augusta, Beau Brummell, Lady Jersey, Lord Byron, Lady Caroline Lamb, Lord Perceval, and John Bellingham. The events around Lord Perceval and Bellingham are also true—Bellingham did assassinate the Prime Minister—and my depiction is entirely based on newspaper and magazine reports from the time, as is my description of the terrible Ratcliffe Highway murders.”

Even the “villains” in the story always have a good reason for being so. It is these subtle nuances that, in my humble opinion, make it so endearing, to the point that a certain nostalgia sets in once the very last page has been turned.

While the members of the Dark Days Club have returned to their immortal resting place on our library shelf, the Deceivers are still very much among us. It is up to us to exercise the vigilance of a Reclaimer's gaze and our neutrality so as not to provide them with any more precious loosh.