Why I Blog

I'm always grateful to get letters from readers.

The idea that people are actually sitting down and taking time out of their day to type out a well though out email is extremely flattering. I'm always shocked when I see a new email pop up in the ol' So@24 mailbox.

Most of the emails I receive are people asking me for advice. 99.9% come from the female community and they will tell me about a current dilemma they are having with a guy and ask me to weigh in with my opinion. I'm always happy to analyze the situation and share my two cents, but I can't help but chuckle to myself that these girls are trusting me with their romance dilemmas.

I'm tempted to respond with, "Have you READ my blog? Am I the person you really want to be going to for relationship advice??

I digress. I actually wanted to talk about an email that arrived in my mailbox yesterday that caused me to do a double take.

I've mentioned this before, but I believe it deserves repeating. When I originally started this blog, I actually intended it to be a tool for men to use that have just recently gotten out of a long term relationship. Not only did I want to keep a personal record of the steps I took and the experiences I went through to go from 6 year relationship to single to a successful relationship; I wanted other guys to see that it was possible too.

I received the following email from a guy named Justin. I wanted to share it with my readers and to say, "thank you".

Thanks for reminding me why I blog.

Best,
So@24

* * *

Hey So@24,

I am sure this isn't the first thank you note you have received, but I just wanted to thank you for sharing your journey in recovering from a long term relationship. I have been reading your "mini stories" for couple hours now (while I should be studying for midterms) and words can't describe how your blog has touched me.


It has been 9 months since my first girlfriend broke up with me, although I am getting stronger everyday, from time to time I will stumble and think about her and all the memories we hold. I know I am not fully moved on but like you have heard many times, time heals all wounds.


In your passages I really felt like I was in your position numerous amounts of time, like I was actually in your shoes. I guess in some ways I am. But your blog has showed me something that none of my friends or family were able to do, which is the light at the end of the tunnel. Its funny how you are just one person in the world with a simple little blog yet you don't know what you have done for many people in this similar situation.


You have sparked my interest to start my own blog, something that will get my emotions out and hopefully help me reach the end of the tunnel.


I want to keep this short, but thanks for sharing this part of your life, you have no idea how much your stories have helped me take another step to healing from my break up and I am sure there are many other individuals that have benefited from your blog as well.


Justin

And now everyone, it's showtime!

I want to go a far away from home for this one, there is obviously much to cover in the latest Dollhouse episode (with Dick Cheney's favorite sport being played [The Most Dangerous Game/Human Hunting]) and lots more things to post on, I rewatched this again a couple of days ago and felt I should do a post on it. The Asian (Japan/Korea in particular [posted on one here]) movie industry is just as loaded with mind control themes as the West's movie industry. I have no idea what's going on over there, I think most people have the image of Japan as a traumatized victim of the big bad West's nukes (Manhattan Project hatched up at Bohemian Grove by the owl-humpers (Miley Cyrus was recently given the 'owl treatment' in a photoshoot, do a quick image post on that next) ["illuminati"/AKA insecure, old morons obsessed with power and control, all of them with some serious Freudian issues me thinks!]), but it seems to me to be just as controlled as everywhere else. Edit: I also meant to mention their porn, which is unbelievably F'd up (especially Hentai and such) with various themes I won't be going into until I get that adult POP/pseudoccult porn off the ground [ridiculous amounts of tentacle-rape (which I've pictured this film's version [tree root-tentacles] of it below from later in the film, Celtic Rebel has done a lot on that), I've seen MPD themes in their stuff too (kudos to years of internet ;p [it's pretty clear to me that this/my generation's over-exposure to all this fucked up stuff is intentional programming], as Paprika states in the film: "Don't you think dreams and the internet are similar? They are both areas where the repressed conscious vents.")].

I definitely need to re-evaluate how I handle these types of movies as these write-ups are time consuming and I tend to go on about things too long; first of all I must start with the protagonist called Paprika. Paprika is not the actual person, but the alter-personality of Dr. Atsuko Chibo, which she usually becomes during the "dream" sequences. These "dreams" are really hallucinations (not the one at the start [Tarzan/etc]; but the ones that occur whilst they are awake, too vivid for simply dreaming), Chibo becomes Paprika when she dissociates/enters the hallucination (and the dream). Here is a quick synopsis of the book: "Nobel Prize-winning psychiatry research establishment employee Atsuko Chiba is the most prominent scientist in this field, using her alter-ego Paprika to infiltrate the dreams of others and treat their illnesses. Unrest ensues when a new psychotherapy device known as the DC Mini, created by Kōsaku Tokita, is stolen, allowing the assailant to enter the minds of anyone and enact mind control monitoring and intervention as a means of treating."

To illustrate this, Tinto Brass' (posted on his Salon Kitty here [all of his other works have themes worth posting on in future]) own Paprika: "The story follows the title character, a young girl who works as a prostitute in various brothels, losing any sense of self confidence and self-respect." And another one (from imdb) more significant about the name 'Paprika' being given to her by her MadaM [Mad mirrored, controlling the 'mad' and the 'dam'ned]: "A young country girl comes to town and works in a brothel in order to help her fiance get the money to start his own business. "Paprika" is the name given to her by the madam."

I'm not covering the beginning dream sequence (above [some of these images come from the opening credits) or Detectice Konakawa's story-arc (pretty self-explanatory MK if you watch the first few minutes [circus, trapped in a cage, everyone has his face and runs at him, etc]). But to round off his story, his old mysterious friend (who he had been making a movie with but didn't finish) tells him (a reflection in a window): "You're living out our movie in real life, Konakawa. That's why you became a detective, a reality created from fiction. Always remember that."

Some of the above symbolic images come from much later in the film.

"D.C. Mini. It's the scientific key that allows us to open the door to our dreams." Paprika says to her 'client' to describe the D.C. Mini.

Paprika is the 'Girl of your Dreams'.




Paprika being triggered is like a rocket ship taking off (as Paprika is feisty/energetic/etc, hence the above image as Chibo and below with Paprika as it takes off).

The chairman (and literally a 'chair-man') of the company (corrupt) says: "It is man's responsibility to control science and technology." Then the nice Chief of Staff, Dr. Toratarō Shima starts to go crazy, "Even the five court ladies danced in sync to the frog's flutes and drums. The whirlwind of the recycled paper was a sight to see... Now it is time to return to the blue sky. The confetti will dance around the shrine gates. The mailbox and the refrigerator will lead the way!... They need to fully realize the liver of the triangle rulers!..."

He goes on like this before happily jumping through the window shattering the glass. His mind is in the parade shared alter-reality (Paprika [as her main personality Dr Atsuko Chibo] says: "He has the dreams of a patient planted into his brain.") that arcs the movie; the glass shattering and falling from the building symbolizes the mind shattering techniques that are involved in (one way) achieving ("falling into" [similar to spiralling down]) these alter-states. You can watch this short sequence below.

Then comes images of the parade, filled with various inanimate household objects marching; the corrupt Chairman (symbolic that it's the powerful and hugely flawed people at the top [chairmen/CEO's/etc] who are behind this [same kind of thinking that leads to the Atom bomb etc, described further up]) says later on in the film (so you finally know all these things walking in the parade are actually symbolic dehumanized [as cats/dolls/robots/frogs/etc] slaves/alters, who are only able to keep living in a dream/following the insane parade), which is pretty easy to understand: "In a world of inhumane reality, it is the only humane sanctuary left. That is a dream. That parade is full of refugees who were unwillingly chased out of reality [i.e. victims of dissociation (traumatized/drugged/kept as far from/dissociated from reality as possible)]. I am protecting them [delusion of programmers]. I am the guardian of dreams. My duty is to mete out justice to terrorists like you, Paprika."



This parade is full of too many symbolic/MK related objects; i.e. the above limbless mannequin, small girl doll, Bacchus-like horned creatures, robot etc.





All the Japanese dolls, with one arm extended; which I take as a Nazi-style robotic salute (Nazism was cult mind control). Himuro (Dr Tokita's [the morbidly obese guy below] assistant) has turned into a doll in the alter-reality, we see him in reality (the DC Mini has embedded into his skull) after the below hallucination as they investigate his abandoned apartment.




There are lots of ways timelines and reality are confused with events connected (like above this occurs before he has actually become a robot and the trapped in an elevator scene (not pictured) are also part of this. Obviously below pedophilia suggestions.


Dr. Atsuko's alter 'Paprika' "talks to" her (as they can do in reality [schizophrenia is often misdiagnosed MPD/DID; the fact that 'schizophrenia' literally translates as "to split - the mind" when it has nothing to do with the mind splitting from conscious reality, shows the intentional confusion), warning her against going into this MK symbolic scene, as she finds an open trapdoor, with a ladder, which she climbs down before seeing a blue butterfly which leads her through a door to the typical amusement park theme seen in many mind kontrol/MK related movies.





The butterfly symbolism will become obvious in the later rape scene; here it is leading one victim (she has MPD) into the extremely symbolic dissociative hallucination (all the trapdoors/ladders/corridor/door are symbolizing her accessing the alter-reality in her mind [psychotherapists have always used these types of visualizions during hypnosis, to access repressed memories and such]).



She goes past all the various MK symbolic things like the carousel/merry-go-round (doubly symbolic with Atsuko [the name means a warm/kind-child] being mirrored with the horses). In the same way the old short doctor jumped out of the window (this is something I've posted on before [and others], as hypnosis/hallucination being used to make people happily jump from the buildings), Atsuko thinks she is just jumping over a short gate in the amusement park to reach the Himuro Doll (with the usual blue butterfly around him), when in reality it is the balcony of the tall apartment block, she is saved by Osanai (Chairman's puppet; and perversely obsessed with Atsuko/Paprika).

All amusement parks can and are used in programming. Even things like Thomas the Tankengine (above, similar to it anyway [remember alters can be so dehumanized that they think they are actually things like trains, all of this kind of stuff helps programming certain alters]) would be used in programming a young child (bringing whole new meaning to the name of one of the only humans in the show, the Masonic top hat wearing "Fat Controller"). The spinning gigantic tea-cups (mad tea party), ferris wheels (sun symbolism and internal structure also), merry-go-rounds all can cause dissociation, which is one way they are used on a child.

Later on when going back to the amusement park, which was based on a memory of Himuro and Dr Tokita's childhood (hence it's preserved state). Back at the actual amusement park (you can see it has since been abandoned) we are shown another mirror image of Atsuko, with her alter Paprika reflected back along with the carousel horses. And then the real Himuro falls from the ferris wheel, shattering the glass below (amazing how there always seems to be some type of glass they break through every time!).



Paprika (Atsuko's alter) goes into the parade alter-reality (where all the dehumanized alters are marching [note the dolls heads etc]) via the DC Mini and rescues him by triggering his mind using sex, as Paprika's entire body penetrates inside the Chief leading him to inflate and 'float away' from the delusion, back to reality.

Paprika's personality alters three times here.





Tokita with his DC Mini + third eye.

The dolls speak to Tokita (now a robot, having entered the alter-reality via the DC Mini): "They [victims of MK] carelessly come here like a curious moth flying close to the flame." and he becomes aware that Himuro is not the real perpetrator here and he made big mistake in coming in. Atsuko describes their (Himuro and Tokita) mental state now, "It's as if their conscious itself has been taken away." Dissociation is a split from conscious reality/a fracture in the mind leading to a split from consciousness (there are obviously different levels of dissociation, I'm talking about the most extreme form caused by [not exclusively] long term child abuse).

Then when describing Himuro as a victim, she calls him: "An empty shell [shown literally as an empty shell above; she follows his 'controlling roots' (this is very much part of programming) to his controller the Chairman, below]. His brain was simply overwhelmed. Instead of one vision he was heavily assaulted by a collective dream." This 'empty shell' is the kind of thing I've described on numerous occasions in regards to mannequin symbolism and others; the void/empty shell created in the mind after it's been split which can be filled by the programmer when moulding an alter-personality. This relates to Ghost in the Shell further down, for obvious reasons (it's about altered humans/cyborgs).

[A lot of these images are not in order (below 3 come before the above two, I've written on some of the basic plot to hopefully clear up some confusion etc) so please check anything by watching the movie, or ask me something specific in email/comments.]






She thinks she is awake, but realises she isn't when he comes out with his roots/tentacles; the blue butterflies appear (butterflies + phallic tentacles, all very Monarch) when she realizes this and she is chased again.


This checkerboard ceiling/floor elevator is used often, the occult #/floor 17 focused on.


So Atsuko has already gone back into the 'dream' as her alter Paprika (I kind of screwed up the order a bit here [the fairy/root/tentacle images should be below not above these]) where she becomes various symbolic personas/characters, such as a fairy, then later a mermaid... even Pinnochio! Some things pictured are symbolic but I don't have time to write on them (i.e. she becomes a sphinx-like creature inside a painting [they are probably famous and symbolic] etc), and of course the most symbolic thing of this is the Chairman's tentacle tree-roots (phallic symbolism) trying to capture Paprika, which eventually she is caught in a swarm of blue butterflies before an extremely symbolic scene.


Osanai (Oz; essentially her rapist further down) is always putting himself in these mythical figures (showing the mentality of these sociopaths). Paprika accuses him of having an oedipus complex, and that he viewed the chairman as his father.



[Chairman's voice]: "That's right my little fish, just keep swimming away. There are no boundaries in dreams, no restrictions from one's own physical body. You have entered a new world, where the spirit is free and that freedom is limitless!"



Paprika is blown out of the Whale's blowhole as pinnochio (so not a 'real girl' anymore), and ends up in the parade with the Chairman (pyramidish float) and his dolls (obvious symbolism of programmed slaves in reality [with the master/chairman at the top, note dragons either side of him, and his puppet Osanai behind him]) giving the robotic salute.



She tries to warn Paprika (herself; dressed as the Monkey King) that she's about to be trapped, but it's too late and the butterflies come and take her to another dream/alter-reality.



Obviously this scene is the most important of the entire movie (starting with the circle of lights + dome above), you can pretty much tell what's going on from the images (note the checkerboard, duality; as we see is a huge theme in this movie). All the pinned butterflies represent the infinite victims of our dominated patriarchal society; women have always been treated as second class citizens (putting it extremely mildly), especially at the top of society (where their colossal wealth/bordem/male aggression/[and other more disturbing factors] leads to these extremes). Paprika calls Osanai "a Prince and a pervert", she is pinned to a table with butterfly wings symbolising these people's desire for total control/dominance over their fragile (like butterflies; easily broken) feminine counterparts.








Detective Konakawa sees she is in distress in the alter-reality movie theatres, he witnesses the symbolic rape scene and tries to break through the screen (he does rescue her).



This kind of 'getting under Paprika's skin' would probably trigger something in victims of rape (remember rape isn't about sex, it's about power and control; the sociopathic mindset of a serial rapist is very much similar to the controllers at the top perpetrating all this MK) as it symbolizes this feeling of the rapist "getting under their victims' skin", reaching into their insides and messing with them mentally. They will often spend hours trying to wash/scrub their skin, even after they are 100% clean; to try and get rid of this 'dirty' feeling of having their insides invaded. I could probably describe that better, it's obviously a very sensitive subject and not something you want to think about.


Raping with Love (again showing the mindset), in effect (and literally) splitting her apart revealing an alter-personality (her main/core personality Atsuko).





The Chairman doesn't like this (he must have control over all of the "dream-world" [the dissociative existence of MK slaves, much of it is illusion/hallucination/not real/a dream]), and she is symbolically raped further by the Chairman's tentacles, with Oz (Osanai) and the nameless Chairman becoming a two-headed monster, which is symbolic on many levels. Symbolizing the sexual abuse involved in creating these "butterflies" (the programming leads to a huge transformation), traumatized/abused victims and then used as objects by men.





Detective Konakawa, as shown earlier was watching this in the alter-reality cinema, he tries to break through into their reality, symbolically breaking through the pinned butterflies (freeing one such pinned butterfly i.e. Paprika/Atsuko).



Osanai is last seen being killed off basically by the swarm of blue butterflies, which chase after Atsuko and the Detective as he enters his dreams from the start of the movie, essentially still treeting Paprika as an object (he rescued her, to claim her [as shown by the sun 'The End' scene]).

Not strictly relevant but the below paragraph came out when writing this, more to do with the mentality symbolized by the above rape scene (I view most models [and generally all victims of MK (in all it's many forms)] as the above 'pinned [trapped] butterflies').

For me, there are too many abused models out there for them not to be considered highly suspect of MANY (I'd argue most) of them being mind controlled. Whether it's Janice Dickinson ([she is often described as 'the first supermodel' which should tell you a lot about them in general. Gia is also described as that, and was also abused at age 5 ((it says only once, but no doubt many more [remember what they do and do not remember is very much controlled])), see link ((Angelina Jolie played Gia))] long-term sexual/physical abuse at the hands of her pedophile father [she only remembers her sister being abused sexually ((so I wonder where her fear of eels comes from then;)), random quote from wiki illustrating the types of people (Gia, Janice; these early models are very indicative of this) chosen to be "supermodels"/high-class sex-slaves: "I survived a monster... Sixteen years I was forced to keep the secret... If I ever exposed my pedophile father, I would've been murdered. So you know what he did instead? He beat me on a daily basis."]; she has her own "reality show" on MTV for fucks sake [one of the 'models' was very shocking, with her fresh bruises, potential electroshock scars, she and Janice both got emotional about their shared abuse... but that's what MTV is fundamentally about]) or Karen Mulder ([still planning a big post on her + others]the wiki page is not a good source at all [think one of the Icke threads went into her and I have some documents saved for the future post], but it does briefly go into how these models are used as sex-slaves for the 'elite' [Prince Albert for illustrating the above Prince and Pervert quote]), there seems to be a large number of models who have been abused (Karen Mulder similar to Janice, in that she remembered her father's abuse). I defintely think it would be wortwhile putting a post together on (Mulder in particular) some of the other victimized models, but obviously we have the problem that the majority of them will never be known publicly, I think it's amazing that even a few have come to light (considering their shattered mental state due to years of trauma/programming/use and abuse) with people like Karen Mulder being quickly reprogrammed to change her story and are still being used today (Janice Dickinson has "had sex with over 1000 men" [used as a sex-slave], which she announced on the Howard Stern show; basically a show for Howard to use/abuse/objectify slaves publicly [dehumanized 'Penthouse Pets' are often used, it's actually quite disturbing how robotic they are on the show, they even all wear key necklaces] Obviously Howard Stern requires a post, with the masked guy controlling the sybian [extremely fast vibrations can feel like elecroshocks, and controlling sex-slaves' gratification, i.e. keeping them in a constant state of sexual arousal ((and obviously tonnes of other methods of manipulating their sexually aroused state, that I won't go into as it would probably read like a porno)); is a huge part of sex, cat/kitten programming]).

"And now everyone, it's showtime!" [quote (title of post) from below guy happily jumping off a roof to his death]










[Images not in exact order]

The film ends with reality and dreams/fantasy merging completely (the parade now in reality, with people willing to take up their programmed stereotype-personalities [i.e. "You can live in your TV"]) and Paprika literally splits apart from Atsuko so they are two separate entities. Atsuko is eaten by Tokito and it's up to Paprika to save the day in an orgy of dualism (as if all those checkerboards weren't enough) as she says, "There's always an opposite, light and darkness, life and death, man and woman. And to spice it all up, you add... Paprika!"

She jumps into the robot and a 'creature of light' (against the darkness/evil) is created; a combination of Paprika and Atsuko, which sucks in the darkness created by the evil Chairman (symbolic of 'elite'/corporations/masons/etc [duality is one of the main tenents of Freemasonry as most know]) causing her to grow into a mixture of Atsuko/Paprika.






The Chairman notices her 'eating up his dream', and says "Why are you disobedient?" before putting his hand over her face, which she consumes with ease.











I wanted to also bring up Ghost in the Shell in this post, which is just one example of these sorts of MK themes used in Japanese anime.

Obviously note the triangle (and the split mind symbolism below); as we know 'they' are obsessed with transhumanism so I really see this type of stuff as working on two levels, dehumanized (as cyborgs) mind control slaves and also transhumanism (which will obviously combine, and already has as slaves are equipped with chips/other high tech equipment/augmentations). But i really just wanted to mention this one anime (of hundreds of MK related ones) because Steven Spielberg bought the rights to it with Dreamworks, who knows all about the 'empty shell' victims become when they are put through such horrors as he was part of creating United States of Tara and many other Mind Control movies/shows (more on his UFO Taken + human trafficking [not Spielberg but you can obviously see where I'll be going with that] Taken in next post). I can't comment on the specifics of the plot because I haven't seen it in a year or two but I seem to recall sex-robots, false memories and things like that being major themes.

Obvious symbolism above (body parts removed/interlocking ring OC; reminds me of Dollhouse's mannequin poster [added an even more blatant Eliza mannequin one I hadn't seen before]; while obviously not 100% similar they both represent the aforementioned 'empty shell'), here is some relevant parts of Innocence's plot: "androids made in the form of young women and used as sex dolls—that have killed eight people, having deliberately been tampered with in order to trigger a police investigation. The dolls possessed a "ghost" (which made them so desirable) that was created by using a "ghost-dubbing" machine, an illegal procedure which produces "information-degraded, high-volume copies", but results in the death of the originals. Young girls were kidnapped by the Yakuza and sold to LOCUS SOLUS for this process." Essentially describing the modern day sex-slaves, young girls who are kidnapped and have their identities completely removed through programming, making them an empty shell; to be programmed to service their 'clients'. Interested to see where Spielberg takes it...

Eliza's half face illuminated/in darkness is worth noting too.

Here's some ancient art (not sure if it's legit; it's showing a very real scenario however) depicting some slaves (note the Yakuza tattoos) being 'programmed', and here is a good article (nearly a decade old now, probably better ones elsewhere) on Human Trafficking in Japan, another good article here on Japan in general + human trafficking. Mind control in the sex-slave industry is simple economics and has been going on for centuries; you need obedient/willing/compliant/well "trained" slaves for the industry to be profitable (and effective in it's motives other than monetary, i.e. blackmail and other things [this is why the powers that be need to be in control of it, it's an extremely powerful/effective tool in keeping things under their control]). The only way to do this is through mind manipulative techniques (i.e. drugs, trauma, electroshocks etc) which are undoubtedly forms of mind control, whether you think the whole thing is some sci-fi crazy bullshit you can't deny 'mind control' exists. Then when you factor in complex psychological disorders like MPD/DID and understand that these can be manipulated, programmed in a certain way (with heavy usage of the aforementioned techniques involved in this); I really don't see why 'mind control' is considered so 'out there'. The marking of these slaves goes back centuries (I've posted on modern day versions of this); as mentioned the below image is of Yakuza (Japanese mafia) sex-slaves being programmed, we know they are probably Yakuza slaves because of their Irezumi tattoo markings. (not mentioned as them marking slaves specifically [only in their own rituals], but you can use common sense [and also the traumatic way in which these tattooes are made, and the long time they take; would obviously have been used as another helpful method of traumatizing slaves ('helpful' in the sense that they are both marking their property; so anyone who tries to save them or steal them knows not to touch them or their owners, the Yakuza will hunt them down, and also abusing/traumatizing/programming them at the same time ((and other reasons it should be said)))] and also see the human trafficking link for the Yakuza's involvement in sexual slavery [as far as I can see though, the wiki link doesn't even mention their involvement in slavery/human trafficking]) I'll give this one another look through soon, haven't checked for errors/spelling. [the title is a quote from the movie btw]

Edit: Added in a youtube video on Japanese Sexual Slavery in WW2 (and obviously the government can't admit that it ever happened, or that it still goes on today [it does, hugely; see previous links/info]).