History of Channelers of Liminality verse



History:

The Dawn of Behavioral Modernity signals a radical shift in behavior relating to the newfound reliance no abstract thought and expression of creativity, leading up to the creation of the first story (and earliest instances of symbolism in any form: art, language, music, games).

However, the very first instance of storytelling in humans lacks any divide or distinction drawn between “real” and “fictional.” In such a society, everything told in a story exists in just the same manner as the air you breathe or the ground beneath you—and is perceived as just as tangible, concrete; there is no abstract, because literally everything imagined is perceived as immediately right there (either right in front of you, or else physically somewhere where you can engage it with the senses), in their world. For them, there is no “mental image.”

Imagined things are perceived as in the physical space right in front of people, that they can directly experience and interact with, rather than confined to the mind's eye. There is no such thing as “abstract concepts.”

Things that are abstract to us, such as emotions and ideological notions, all have physical, synesthetic-like forms and are perceived as discrete, bounded experiences directly in the world in front of the perceiver/experiencer just like all other imagined things and “anchored things.” All “abstract” (abstract to us humans, anyway) terms are described in terms of how they are perceived in reality, using expressions of synesthesia and physical processes related to the “abstract word.” This extends even to closed-class words such as 'the' or 'and.'

Along with the imagined things, there are also anchored things. Anchored things are things or organisms already in the background regardless of and independent of the perceiver/experiencer's thoughts: they are in a sense “anchored” to the background that is the world one (of this particular species) experiences/perceives.

The importance of mythopoeic thought:

Mythopoeic thought is the default way of perceiving, explaining and understanding one's surroundings and the world they live in—and that it is through mythopoeic thought that all complete, whole, and/or known things possess sapience, movement, life, and the ability to communicate through language, as all actions in a mythopoeic world are personified and deliberately willed to happen.

The mythopoeic world view makes things anthropomorphize, and leads to creation of the fictional realm and divide between the fictional and real worlds, because this is pre-divide and the view/perception is that everything is anthropomorphic, living, sapient, concrete, with all actions are acted out and deliberately willed to happen in a personifying manner.

Parts of a whole or unknown things—unlike the whole that they make up—do not have any sense of self on the individual level, but instead have a hive-mind consciousness due to their status as not being individually important enough to stand out alone, yet still needed as part of the group in order to come together to form the whole.

Hive-minded things gain sentience after they are discovered, or singled out from the group. In instances when this discovery is highlighted, talked about, etc., the formerly hive-minded parts become individually-minded, which leads to huge changes within organisms (free-thinking, rebellious cells or components sprouting up absolutely everywhere after they’re known to exist, due to historical discovery of components/that organisms are made up of the component)

Divide between the real and fictional:

The divide between the fictional and real comes about as it is brought into realization some time later on, as people want literal and physical escape from their own lives—and often, their own bodies—but at the same time do not want to die. A popular solution, or form of this is to become one of their creations; to become a character from a story, without the divide between the real and fictional. Keep in mind that at this point, the character is not perceived as fictional, and co-exists in the same realm as their creator and audience.

However, not all wish to become one of their story characters; they simply want to leave the world they know, or the world around them in as complete a manner as possible without dying.

The divide eventually develops as an avenue of providing people a literal escape from their own lives and bodies in all its possible forms, in order to fulfill people's desire for such a thing. In a completely new realm apart from reality, they can leave their old lives behind in total.

The divide between the real and fictional becomes anthropomorphized as anthropomorphized separateness (between concepts of “real” and “fictional”) as people become aware of its existence, or come to differentiate between fiction and reality

The Channelers of Liminality

Emergence of a group known as the Channelers of Liminality springs up in order to figure out what is going on between the realms, or what it is really like “on the other side.”

Initially, this is done by setting up a few people in the real world in order to communicate with fictional characters and gain general information about the fictional world through (talking to) them.

In time, it develops into a system of both parties—both channelers in the real world and fictional characters communicating with them—relaying information back to each other in order to find out more “hidden info” (that is, what would be unknown to the denizens of the opposite realm, e.g. that fictional inanimate objects are merely dormant, to the real-life audiences) about the other's realm.

Channelers specifically use the sense of what is missing in order to see where there are roles missing in the fictional world, and find those who desire to escape because they find something missing in their life, have a void in their life they need filled with escape from reality.