Category Archives: Shining, The

December 16, 2013 · 2:18 pm

Additional Additional Wendy-Danny Tree Stuff

Jack looks down on The Overlook’s model of its maze just like Second Lyfe avatars can look down on the labyrinthine Rubi Forest either directly (flying) or using distant vision.

But then the maze model inexplicably enlarges as we see down through Jack’s eyes in the movie, mirroring itself in all viewable directions. This reminds me that the Rubi Woods was supposedly part of the much larger Sylver Forest in Ancient or Pre-Linden times.

Wendy-Danny from overhead!

Jack is becoming absorbed into the past of the Overlook Hotel. Remember The Maze is also a mirror of The Hotel. The past for us, the reader and caretaker of this blog, is the Sylver Forest. Will we become similarly absorbed, as Jack did at the end of The Shining? The Maze took him away forever and ever and ever. He became just a frozen head in the then *present*…

… but, at the same “time”, a member of “all the best people” in 1921.

“You’ve always been the caretaker.”

Gila 09 represents the two halves of “Dark Man” ending Shiny Hare. “Hucka D., can we speak about that now?”

Hucka D.:

A little. The picture on the easel is part 1 of 2, the picture on the wall of the gallery is part 2 of 2, yes. Jack of The Shining is at the end. Same as the frozen Marty [ McCartney] head, yes. Yes. (pause)

bb:

Thanks for showing up in my blog this morning, Hucka D. We are trying to resurrect the past. Is this a good thing?

Hucka D.:

Yes. (pause) In this case, in your case. A positive 237, a healing 237.

bb:

We track down the road in the easel picture, which then continues in the wall picture. This is just like the long tracking shot ending The Shining, ending with Jack at the photograph. The wall picture I mean. The easel represents Catman entering The Hotel, and then being cut or sacrificed. The ax cut by Jack, essentially cutting Catman in two, is also like the edit cut of “Dark Man”.

Catman is physically a “Dark Man”, but also the Dark Man becomes Jack psychologically because he kills. He *replaces* the physical Dark Man by being a psychological double. Dark is not necessarily bad, although society likes to deem it such. But [psychological] evil dark is obviously kind of bad. Was I speaking your words, Hucka? (pause) Hucka?

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Image

Additional Wendy-Danny Tree Stuff

More twins from the collage before Gila 09 discussed in the Wendy-Danny Trees post just below, in this case Frank Zappa and Ringo Starr from the movie 200 Motels.*

Like the Grady Twins and Wendy-Danny from The Maze, they appear to be holding hands, or perhaps sharing one hand between them (Ringo’s left, Frank’s right). In the collage, they jointly start at a miniature version of the Marge beech grove positioned atop two opposing heads that are pressed together by two giant fingers. These fingers, along with a more realistic presentation of Marge, reappear in the following Gila collage already under discussion: “Head Inside”.

It also seems important to mention here that a mirroring crop circle (another twin!) appeared beside this beech grove’s twin Patty (*another* twin!) shortly after Edna and I returned from England this past summer. Never had a crop circle formed nearly this close to Marge before, nor her sister groves Patty and Selma. Just to note that all of these groves appear near each other on the same ridge, and are all basically convey the same shape, size and appearance.

Now the current state of “Head Inside,” newly reinstalled in Fal Mouth Moon. As you can see, the projecting dogwood branch doesn’t really do any aesthetic harm to the collage, and even adds to it in ways. Note that it appears to, by virtue of its 3-dimensionality, *block* Baker Bloch’s vision of McCartney’s head within Marge.

The truncated column in the back of the Table House discussed in the first post on this subject is found to exist at the very corner of VWX Town, Essence, or just within the part of the town that will be kept in January. A meter or two south or west and the column would lie within VWX Town, Indulgence, the part that is to be abandoned. Note also that the southernmost or “5th” column lies in VWX Town, Indulgence. 4 will remain; the 5th will not.

I also think this “missing” column represents the missing 199th tree of the Rubi Forest, the one that, when removed, makes its Lucas sequence resonance harder to identify. This was done on purpose — by The Woods itself?

—–

* See here for strange tie-in between this movie and Cube-Brick’s 2001: A Space Odyssey:

http://globalia.net/donlope/fz/videography/200_Motels.html

The 2001: A Space Odyssey Monolith
From: Patrick Neve

I just snagged this neat-o little piece of trivia from the internet movie database. Anyone know if it’s true? Where exactly does it appear?

200 Motels Trivia: Filmed in the same studio as 2001: A Space Odyssey (1968). The black monolith from that film is visible.

From: Clyde200

Yep… I’ve wondered about it too. Although it’s been quite awhile since I last viewed the movie … I can see Ringo (with the lamp) and Theo. B. in front of the object which is on the right of the screen.

From: OnlytheSky

Not to mention during Penis Dimension sequence Dick Barber-as-the-vacuum- cleaner shoots a wad at it.

From: Patrick Neve

Oh, that’s it. I also just spotted it in Don Preston’s laboratory as he pushes the vile foamy liquids onto the unsuspecting Martin Lickert.

From: TTrocc7007

In the complete (unfilmed: see True Story Of 200 Motels for details) version of the original shooting script for 200 Motels, we actually see the monolith quite a bit more. It looms throughout. At the very end of the film (as written), the extreme close-up of FZ’s eye is supposed pull back so that we see the monolith behind him. As the monolith comes into focus we see for the first time that it is in fact FZ’s Marshall amp and speaker cabinet stack! He reaches over, flicks the stand-by switch, and the credits roll.

From: Patrick Neve

Very interesting.. Does that in any way discredit the “trivia” that the monolith in the movie is the one from 2001? Sounds like it may have been kicking around the studio so he wrote it into the script. Yes?

From: TTrocc7007

It sorta sounds logical that way until you realize that the script had to completed well in advance of shooting. It is possible an early trip to Pinewood studios WELL in advance of the shoot date may have turned up the slab, but I expect it was written and concieved BEFORE the excursion to the UK for actual shooting.

From: Jason M Arvey

A long time ago, someone asked a trivia question about the cover of 200 Motels, essentially looking for the three elements on the cover that are references to other films. I effectively found The Shadow above the newt on the building on the left hand side of the cover/poster. At the time, I had noticed a fetus sucking its thumb just to the right of The Shadow, but didn’t know what to make of it; I knew it wasn’t from 200 Motels, but couldn’t place it. Well, I looked back on the poster today, and, shucky- darn, if that ain’t the Monolith from 2001 sitting right there behing the penis dimension march.

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December 15, 2013 · 6:35 pm

December 15, 2013 · 3:57 pm

Wendy-Danny Trees

Wendy, left, and Danny, right from Square C3. I thought of naming these trees the Grady Trees or the Grady Twins (Gwady Twees?), but the sizes are too unequal, even given that the Grady Twins in The Shining aren’t *exactly* the same size. Close, but not the same. No, this appears more like the size difference between Danny and his mother Wendy in the film. The link is that Danny-Wendy hold hands in The Maze like the Grady Twins do in The Hotel, and it’s obvious that Kubrick (Cube Brick) wanted the two pairs associated through similar set motifs, etc. So the Rubi Forest trees are not the Grady Trees or some variation thereof, but the infamous Shining twins are implied because of this link with Wendy-Danny.

The Grady Twins, in their final appearance in the movie, implore Danny to play with them, “forever, and ever, and ever.” The Overlook Maze trapped Jack at the end forever and ever and ever, and almost did the same to Danny (if Jack would have caught him). But The Maze is a reflection of the neighboring Overlook Hotel and its own maze-like corridors, as designed by Kubrick. Cube Brick. The Maze resonates its energy into The Hotel and visa versa. They too hold hands in a manner, bigger to smaller.

As I studied the trees, different faces emerged than what I saw before through Baker Bloch and Edwardston Resident.

Wendy-Danny from overhead.

Almost directly south of the forest’s Wendy-Danny trees stands the truncated 4th column of 5 holding up the eloganted back of the Table House. During VWX Town’s first days, this was done to make room for Piedpot, then existing directly underneath it and also at the end of the straight portion of 1st Stream or Edward’s Stream. Both the columns surrounding this truncated 4th (3rd and 5th, then), are also floating, like the Danny tree in the forest directly north. Is this synchronicity? Do the 5 columns stands for the 5 rows of 1024 squares in the Rubi Forest? Columns are, after all, paired (“hold hands”) with rows as well (!). What does the missing or truncated 4th column mean, then? I might have to investigate this phenomenon more later on. Is the *Table House* supported by these columns, north to south on its back, symbolic of the forest as a whole?? At any rate, this house is scheduled to be deleted by Jan. 6th.

A VWX Town linden dogwood tree lies almost directly south of Wendy-Danny as well, and thus basically along the line of the columns just discussed. Like the Danny tree of the Rubi Woods, the dogwood is *almost* (but not quite) a floater, with only the tip of its lower point sticking into the ground. As eucalyptuses are one of the largest linden trees, the dogwood represents one of the smallest of same. If we move this dogwood directly north into the forest, it would lie almost equidistant to Wendy as Danny would on the other side — giving the suggestion of another type of child tree or son tree due to its shorter stature.

Of additional note here is that this dogwood presently protrudes through the eastern wall of Fal Mouth Moon and into the pictured trees (beech) of the Gila 09 collage, called “Head Inside”, the head in this case being of Sir Paul McCartney, whom Ringo Starr called the head or the brains of The Beatles.

When I placed the Fal Mouth Moon structure guided by other considerations, this projection just happened — wasn’t planned. But I decided to leave the dogwood there, since it meshed so well with the pictured tree grove in the collage. Keep in mind that both Baker Bloch and Edwardston have examined the faces or *heads* appearing in the Wendy-Danny trees. And it’s paramount to also keep in mind that an *eye* was spotted in the intertwined foilage of these very Rubi Forest trees, later directly associated with a bull’s eye of the forest. I may come back to this idea as well — the merger of beech grove of Gila 09 with the Rubi Forest.

More related info:

http://jonnys53.blogspot.com/2007_06_01_archive.html

Wendy and Danny holding hands in The Maze.

http://www.freewebs.com/theshiningmovie/thesteadicam.htm

Although he would admit that I could produce a printable take by any reasonable standard within the first few tries, Stanley would seldom respond with anything but derision until about take 14. He did not appear to be comfortable until we were well beyond take 20. Since the editing was to occur entirely after the filming of the production, he wanted at least two and preferably three perfect takes on each scene. Basically this was fine with me. Although most retakes were for other reasons, I could see a gradual improvement in my operating with each playback. I learned the route like a dancer learns a difficult piece of choreography and I could relegate more and more of the navigating to my subconscious and attend to the rhythm of the shot. To be fair, Kubrick later admitted that in selecting takes he went for performance every time and that many were technically indistinguishable. (He has been known to mutter, upon sitting through twenty identical passes in the lunchtime screenings, “Damn crosshairs, they get me every time!”)

The giant Hedge Maze set must be one of the most intriguing creations in the history of motion pictures. It must also be one of the most pernicious sets ever to work on.And folks, every frame was shot with the Steadicam. In its benign “summer” form, the Maze was constructed on the old MGM lot outdoors at Borehamwood.

It was beautiful. The “hedges” consisted of pine boughs stapled to plywood forms. It was lined with gravel paths, and contained a center section (although built to one side of the set) which was wider than the rest. It was exceedingly difficult to find one’s way in or out without reference to the map which accompanied each call sheet. Most of the crew got lost at various times and it wasn’t much use to call out “Stanley” as his laughter seemed to come from everywhere! It was amusing to be lost carrying nothing more than a walkie-talkie. It was positively hilarious if you happened to be wearing the Steadicam.

Stanley and cameraman holding hands (!).

Hmmm…

http://slnewser.blogspot.com/2010/12/more-winterfest-fun.html

By the way, the maze is based on the film “The Shining!” Jack Belvedere, owner of the sims, told me he had to clean up all the gore before doing the snow maze.

Have fun!

Labyrinthine way the Rubi Forest squares were passed through to recently re-count all the trees and additionally take pictures (start here).

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Filed under **VIRTUAL SL, collages 2d, Heterocera, Qbrick, Stanley, Rubi^, Shining, The

December 13, 2013 · 1:59 pm

the Head 02

(continued from the Head 01)

http://idyllopuspress.com/idyllopus/film/a_brief_look_at_close_encounters_through_the_eyes_of_the_shining.htm

Simply faskinating.

—–

http://kubrickfilms.tripod.com/id4.html

Significantly, the labyrinthal road that the car travels down is called the “Going to the Sun” road, and construction of it began in 1921. Later we will notice that the film itself ends with a photograph taken in 1921.

….

Legend has it that the Going to the Sun Mountain, and later its main road, were named after a mystical Indian who ascended the 9,642-foot peak to join the sun in eternity. The choice of road is no coincidence, as the film begins and ends with both credits and references to the year 1921. What’s more, Kubrick’s name is nowhere in the final credits, and the film begins with a cast scroll that is typically located where most films end. So what we have here is a film which folds in on itself like an ouroboros snake, the past and the present, beginning and end, merging indefinitely, one big cyclical repetition of history.

MORE TEXT SOON.

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Filed under Qbrick, Stanley, Shining, The

December 12, 2013 · 3:23 pm

Bullseye 01

http://kdk12.tumblr.com/post/17344062139/the-games-room

The four colors of the Colorado flag recall the Four Directions of Native American belief, which in turn recall the Four Corners states (of which Colorado is the north east.) Color attribution of Four Directions change from culture to culture, and we see this in the clash of cultures inherit in the Overlook’s decor (English, Modern American, American Indian, South American, etc.) Things change color in The Shining, and windowless rooms like The Games Room make it difficult to establish Cardinal Direction. (Note: cardinal means red) Another Native American word for the Four Directions is the Medicine Wheel, which relates to our second symbol, the bullseye.

Supersity Medicine Wheel, visited again just yesterday for the first time in a year and found to be dismantled. The below shot is from a bit over a year ago:

https://bakerbloch.wordpress.com/2012/11/26/supersity-02/

An “additional” yellow ball found at Supersity beside the Medicine Wheel or sacred hoop last year:

https://bakerbloch.wordpress.com/2012/12/02/return-to-supersity-01/

Yellow ball of seeds I noticed on my previous Supersity trip — still of unknown species, however. One more thing to check on my checking list.

2 more yellow balls from The Shining (yes, it applies to everything!).

http://idyllopuspress.com/idyllopus/film/shining_closing_day.htm

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Filed under Frank Park, Gene Fade's Mtn., Qbrick, Stanley, Shining, The

December 10, 2013 · 3:37 pm

Tree Klingers

Hebe:

Town name brought to mind expression hebejebes. First link when looking that word up was from Urban Dictionary.

Urban:

I believe this leads to urban comedies, which began replacing rural themed ones in television’s Rural purge of the early 70s.

“It was the year CBS cancelled everything with a tree—including Lassie”

M*A*S*H ultimately became perhaps the strongest and most influential of the new, grittier comedies that then emerged.

Red Cross:

The red cross logo of army medical units is closely associated with M*A*S*H in the show and on related products.

Klingertown:

Obvious reference to Max Klinger, the cross-dressing M*A*S*H regular famously played by Jamie Farr. Both Farr and his fictional character are from Toledo, Ohio, seat of Lucas County.

Pillow:

Klinger dressed in women’s clothes in an attempt to gain a Section 8 and leave the war to return to Toledo. Pillow refers to a harmless woman-style fight Klinger might safely engage in in Toledo, as opposed to a real man-to-man fight in Korea.

Mouse (Creek) – Man(data)

Refers to well known idiom, “Are you a man or a mouse?”, obvious connection again to Klinger’s reluctance to engage in real battles and be a real man. This also associates with dressing up as a woman. In later M*A*S*H seasons, Klinger gives up the dresses and the Section 8 dream.

Also see: “Measure of a Man.”

Cast member Brent Spiner (Data) identified this episode as his favorite TNG episode.[3] In an interview, fellow cast member Patrick Stewart (Jean-Luc Picard) concurred that this is “the first truly great episode of the series”.[4] On Twitter in April 2013, Marina Sirtis names this as her favorite episode.

Kulps:

Not far north of this map appears Kulps, with a lone variant name of Klingers. This again refers to the Rural Purge, since Nancy Kulp was a famous secondary actor of the most popular of all rural comedies, The Beverly Hillbillies. Likewise, Klinger plays a similar support role on M*A*S*H. Also Kulp confessed to being a lesbian later in life, mirroring character Klinger’s sexual complications.

Erdman:

Actor Dennis Erdman played injured soldier Harrision in one episode of M*A*S*H, “The General Flipped at Dawn”, the 1st episode of season 3 and perhaps best remembered for introducing Harry Morgan, who played a different character in this episode (Gen. Steele) than when he became a regular as Col. Potter the following season.

Klinger approaches the inspection in full drag and presents himself to the General with a snappy salute. Steele take a quick look at him and growls, “Not now, Marjorie, I’m inspecting the troops!”

Additional note: like “The General Flipped at Dawn,” the Star Trek Next Generation episode mentioned above is a season’s opening episode (3rd season for TGFaD and 2nd for “The Measure of a Man”).

Bremer County, Iowa: Klinger and Potter together…. along with Denver.

http://www.youtube.com/watch?v=npC9c1hXVkQ

Fearnot, Hepler (anagram of Helper, as in M*A*S*H unit), Rough and Ready:

All refer to war and the thing Max Klinger is attempting to avoid. Also along these lines…

Killinger:

Anagram of Klinger and also containing the word killing and killer in one. This village is a bit to the southwest of the above map.

Rife:

Near Killinger, and refers to rifle. Just read about a Rife surname yesterday and thought it was rifle. On same Youtube channel as the Shone Report.

Note also that Rife could become rifle by stealing the extra “l” from nearby Killinger, making the latter closer to Klinger via its then single “l”.

Royal Rife.

Rifle kills — Rife cured. Seems he could have cured many more.

And to top it off, perhaps, we’ve seen most of this map before in the Frank and Herman Einstein! blog.

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Filed under Iowa, MAPS, MASHup, Pennsylvania, Qbrick, Stanley, Shining, The

December 8, 2013 · 10:10 am

“Not much happening…

… over at *Ye Ole Watering Hole*, Hucka D.” (smiles) Just Karoz and Bracket Jupiter sharing a beer and not being able to see each other.”

Hucka D. (jumping right into it):

We have the Alpha and the Omega defined now. Alpha is The Wizard of Oz, the light, the good. Omega is the dark. It is The Shining, and the black and white photograph at the end of this movie is also the end of your world. And my world. You start somewhere and you end somewhere. Fal Mouth Moon is a way to get out, to go home.

bb (offering):

The Moon?

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Filed under **VIRTUAL SL, Heterocera, Oz Wizard, Qbrick, Stanley, Rubi^, Shining, The

December 7, 2013 · 5:05 pm

Fal Mouth Moon, The

New structure in town, but actually quite old. Formerly a haunted hotel, now it functions as a gallery for the Gilatona-Lis[-Falmouth] series (replacing the Power Tower Gowlery on that) and also as a portal to The Moon (replacing the Norris Building on that). More soon!

And, oh yeah, I’m definitely in Rubi for another month. Decision gate passed through.

The Fal Mouth Moon has connections with Bay City’s similarly fowl Falmouth Hotel via wig topped Red Skeleton. It’s also associable with The Shining’s cursed Overlook Hotel in snowy Colorado. An exorcism may have taken place there in past/present/future.

—–

Bracket Jupiter
The Fal Mouth Moon, VWX Town
July 4, 1921

—–

Fal[se] Mouth & disappearing ~~WIG~~ WGI.

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Filed under **VIRTUAL SL, Herman Park, Heterocera, Qbrick, Stanley, Rubi^, Sansara, Sharieland, Shining, The, Toy Avatars

Image

Bracket Jupiter, July 4th, 1921

“Get back, Jack!”

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November 27, 2013 · 10:51 pm

November 22, 2013 · 7:57 am

Continuing Adventures of Edwardston Resident 01

He’s not quite sure how it happened, but when our Edwardston R. touched a certain picture he had rezzed in his Home o’ Fibs residence and accepted some inventory, he was almost instantly transported to this location. He recognized that it was the same location as in the picture. Long time blog readers of mine (the hoards, the hoards!) will know this to be the infamous 97/97/97 spot in Lanestris, in the black heart of Virtual Hotel Chelsea village in front of the uber-poisonous and noxious Purple Tower. Provencial Edwardston was panicing (“How do I get back home, how do I get back *home*??”) when he remembered he could just hit the home button and return, an escape hatch in effect. He’d learned this trick several days ago.

While he was thinking this, an art kiosk greeted him; he knew the drill from being based so near two of Baker Bloch’s galleries and their own kiosks (Power Tower Gowlery and also Toxic Art Gallery). So why not check out this stranger gallery while he was in the area? Trouble was, he couldn’t find it when walking around on the ground level of the town. He had to use distant vision (which he had only recently discovered as well) to locate the gallery above him at a certain point, and used the sole gallery seating to sit in and lift himself up into it. All of us who’ve been in Second Life for a while know that trick.

But to be honest, he wasn’t that impressed with the art…

… nor what he could see in the other box-sized galleries strewn throughout the rest of the dense urban area. I think the problem was that Edwardston had no pesonal connection with this art, unlike with some of Baker Bloch’s collage work. But I might try to subliminally get him to return and re-check things out here. After all, it was me who made him come here in the first place with the inventory “mistake”, as he thought of it. He’s still very naive to this world. But, in different degrees, we all are.

Edwardston certainly did appreciate the immensity of the virtual Chelsea Hotel itself, the centerpiece of the community. And I think he did understand in some way that this community, this village, was the twin to VWX Town he was searching for, and not long destroyed Pietmond or even the more recently abandoned VWX Town in Philudoria.

Returning home, Edwardston decided it was finally time to suck it up and take a tour of the Toxic Art Gallery located just next door to his home.

He found the art on the first several floors more engaging that what he saw in VHC village (again, because it was more personal to him, and not a comment on the quality of any art involved), but it was only when he spotted a representation of Esbum Michigan in a collage on the 4th and last floor that he really perked up.

And a tiny Baker Bloch was found below Esbum as well. He was about to enter a forested region of what Edwardston knew now was called Real Life, or the real world. But the observing Edwardston was curious about the greener square (or near square) of forest in the collage’s center. The vivid, monochromatic colors looked more like Second Life trees, pine trees to be specific, like the ones in back of the Home o’ Fibs. The Rubi forest was instead populated by a mixture of cypress and eucalyptus trees — not pines — so it couldn’t be a collaged image of that. So Edwardston’s thinking was that we have Esbum here — Second Life avatar — and Baker Bloch — another SL avatar — and perhaps a square of forest from SL, and then real life stuff arranged all around this. Was Baker Bloch attempting to enter the virtual forest but blocked by the surrounding, real forest? Was it like trying to find the center of a concocted labyrinth? And what of the giant Esbum Michigan hovering above? The framing orange dogs (same dog?) showing the way in and the way out?

Then two pictures to the right, Edwardston R. finds another familiar image: the orange, floppy topped entity seen in an Esbum related snapshot found in his inventory not long after arriving in Rubi, an image Edwardston thought might be a representation of himself somehow. Here the being, now equipped with a body for moving about, appears to ascend a mountain beside an L-shaped gorge. The line of white cars in the foreground appear to be heading directly into the gorge, or, better, represent a continuation of the curving line of the gorge within the picture.

The next picture seems to be a direct continuation, with the orange alien transformed into a dingo as he reaches the top of the gorge. The cars in the foreground now avoid coming up the gorge toward him, and instead keep heading down the broad cement highway in the center of the collage, toward a large blackbird. The prominent stick of this picture is upright or “raised”, in contrast with its horizontal twin from the previous collage. “A gate closed, a gate open,” Edwardston thinks at the time.

Then *both* sticks appear in the next collage — Edwardston is just continuing to move to his right, following the gallery walls — along with Baker Bloch again; *5* versions of him, in fact. And it took Edwardston a minute to pick out Esbum Michigan behind the Baker Bloch in the green chair. Edwardston Resident would have had no contact with Hucka Doobie yet, and so wouldn’t know who he was (pointing bee avatar in lower right corner of the work).

Edwardston looked through the rest of the collage collection on the 4th floor, which was actually the entire 20 work Wheeler-Jasper series I created in early 2009. He found more interesting images within, but the ones I’ve illuminated so far still stuck out. Then he teleported to what he thought might be another floor of collages but was instead the roof of the gallery. The alignment between where he was standing on the Toxic Art Gallery and the Church of The Diagonal straight ahead of him (he didn’t know it was named this) struck a chord. Another seed was planted here: the idea of The Diagonal extending across not only the Rubi sim but the whole of the continent he resided upon. This alignment, he knew, could not be accidental. But this day, it was only an observation, and nothing deeper would come of it for a while. He didn’t realize that the very place he’d “accidentally” teleported to in the Virtual Chelsea Hotel community was precisely aligned with this same Diagonal. It would take a while for it to all come together for him.

Looking the opposite way toward Rosieri. I think Edwardston would like to explore the parcel he sees there soon. This is the old home of Coke, an acquaintance I first met way back in 2008 Azure Island days, before I’d even moved to Rubi and the mainland. An original paradise of sorts. I’ll have to tell what I know of her story soon as well.

I next sent Edwardston to the Power Tower Gowlery so that I, baker b., could take a look at a particular collage: the terminal work of the Lis series, and what could be considered the second to last collage of the entire Gilatona-Lis mega-series within the Power Tower. I wanted to compare the imagery of this work with the Judgement card mentioned in the post just below mainly concerned with The Shining.

This is the specific image I wanted to compare it with. I’ll have more to say about all this soon — too long a story to go into here, probably.

Edwardston also revists the Falmouth collage(s) on the floor just above this, again noting the red haired entity.

He uses the conveniently placed teleporter to save a walk back down the various ladders and stairs to his Home’o Fibs next door. Just after then teleporting again up to the second floor (his bedroom) from the first, he notices *two eyeballs* staring back at him from the window. You’ll most likely have to enlarge the below snapshot to see what I’m talking about here. But the illusion is blatant and symmetrically effective.

Edwardston quickly realizes these are two eyeballs from the many in the Wall of Eyes he can view from this window. But he understands the “accident” has meaning as well. Someone *is* looking in on him. He approaches the window and sees in the distance what looks like a brown colored creature, staring up at him or, as he studies it more, perhaps at the newer, oval shaped building in town more to its right. A name suddenly springs to mind: Barrel Building. And the creature is Catman. Edwardston quickly understands that the “creature” is just the trunk of the same palm that produced, within its fronds, the illusion of the backwards turning figure before. But, all the same, he just as strongly knew this was Barrel House and Catman he was staring at through this window, and that Catman is somehow his manifested fear of progressing beyond the prickly, impeding cactuses toward the structure topped by the giant, yarn wielding cat. Quite a yarn (sorry).

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Filed under **VIRTUAL SL, collages 2d, Heterocera, Qbrick, Stanley, Rubi^, Shining, The, VHC City^

Category Archives: Shining, The

Additional Additional Wendy-Danny Tree Stuff

Additional Wendy-Danny Tree Stuff

Wendy-Danny Trees

the Head 02

Bullseye 01

Tree Klingers

“Not much happening…

Fal Mouth Moon, The

Bracket Jupiter, July 4th, 1921

Continuing Adventures of Edwardston Resident 01

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