2026.06.09: Thoughts on the similarities between hypersigil books and Abyssal workings.
Sitting and thinking about the technique, or at least tools, in Weaving Fates, by Aidan Wachter. I had read more on hypersigils pre-2020s, but am current-day barely into the introduction of this book.
Leviathan and I, though myself to a greater degree as appropriate to my existence as a body of separation and isolation, have been taking a break from personal magics, relying on and interacting more heavily with those of the State and other official forms. Our magic-electric grids in our realms are already partly outlets for us, they work off our Storm-based output - "Storm" in the way that that's what humans of this plane still associate us with, where our images elsewhere have evolved to be gods of the "Storm" as in Technology and "Lightning" as in Electricity - our lives have been almost fully aligned with, eclipsed by, current political and societal duties.
The way we work personal magic, however, is slowly becoming relevant again as we withdraw from embodied civil sovereignty into natural and wild deityhood. Our magic is intrinsically tied to the latter, seeing systems of expressions (e.g. wind spirits, parts of nature, parts of Consciousness, etc.) working in layers of orbiting of hierarchies - this is getting tangential.
The book earlier named describes the Black Book, a hypersigil tool that holds elaborate magic-theatre and roleplay to be manifested. I was discussing with a Dionysian the other day the nature of the Theatre and Consciousness work, and I was discussing with him here trance work, masks, theatre as characters, trance work when it is that embodiment into characters, and so on. It has me chewing on many things.
My work always lands back into the core of divine roleplay. As Consciousness, I incarnate, faux-separate, into myriad forms of hierarchies that all serve the whole in the end. Gods and mortals, "demons" and "angels" (I suppose "unclear mirrors" and "clear windows" is a little clunkier than that), protagonists and antagonists, environments and animals, Sky and Ocean, all are parts of the play to be embodied, worked with, bossed around, antagonised, loved, fucked, and all other things in order to understand the nature of the Theatre.
What I relate to this Black Book talk is the work of the Abyss. First, the naked Abyss itself is the building housing the Divine Theatre; as the point where fiction becomes reality and reality becomes fiction, it is the point the Play begins and unfolds as well as where it is imagined and created. It takes in information, chews it, digests it, and grows the Universe from it; it is intrinsically the force behind fiction-to-reality birthing. But its known tools are also in line with the idea of the Black Book. Spaces exist - purposely such as microrealms, incidentally such as the lightless core of plant seeds - where the fabric of reality is pried open to the staring Abyss which becomes the host of threads of light, DNA, code, whatever one wants to call it. Conception of Reality occurs when the Light enters the Dark.
Abyssal magic involves feeding the Wide-Eyed Abyss through coding inserted into a black slit through Reality into it. These spaces are kept open ritually; cauterised, shuddering with salts and acids (un)dressing the wound, slits made constantly to stop its healing. They're pored over, they're made sacrosanct defilements in the skin of the Goddess. Really, as she says, the Abyss comes first and this is just a part of her dance with it that ultimately does her no harm and brings her great fulfillment, but it's a part of the Leviathanic theatrics of it all to perceive oneself as forced to cry the salt that needs to distress the wound, ignoring that it is actually healing.
Any space can be used, the true space is the wound. That's to say our own arts don't require a book, or a computer, or a chest, or a crystal, or microrealm, or whatever one may want to dress it with. These are all the body of the Goddess and therefore only host to the wound-window through which we see, speak to, and move the Abyss. Wherever one is willing to tear a hole to it is suitable, no matter how sacred and pretty, or disgusting and repulsive. One can even use their own mind or body - mindspaces, energies, tattoos, scarification, hair, fetish, body parts - even emotional states themselves can be ripped open to gaze in the Eternal Black Mirror. The methods of Light-seeding are just as flexible, speaking, dancing, uttering, moaning, screaming, writing, sailing a boat into the sea...
There's something to be said about how one spits the waters that become the Goddess' body through her. Treating the Abyss as the mirror "behind" Reality, by splitting Reality and pouring Will into it we encourage the splash-back into the innermost core of her body. This would be opposite to treating it as a voiding hole that removes - makes fiction - something that exists, good for banishing and death magic, but neither are opposed as there is no opposition in the Abyss. The curtains and the stage and the backstage are all parts of one place no matter if one is entering or leaving the stage. Intent here is what matters, intent is Polarised, intent is oppositional by nature. Intent changes directions.
All one needs, really, is three things: A place to harbour the Wound, the Wound itself and what sustains it and keeps it pried open, and a means of forming the light that codes the Universe into helpful packets of data. The idea of the Black Book requiring special treatment to hold its magical properties, grossly paraphrased through interpretation, is comparable to Wound-tending practices. The hypersigils in the forms of extensive stories, Mental theatrics, is both the scripting of the plays to be enacted in the Theatre which the Abyss holds the building of and the slipping of those play plans to the owner to approve. The Goddess provides her blood and body for the play, the food that feeds the actors, the juice that holds the alcohol... and the bodies that dance the play, and the set dressing, and so on. The Book is the location of the Wound, the magic inside it the Wound and its tending and sustenance perpetuate the Wound, and the elaborate embodied fictions are the light that is purposefully reflected off the Abyss to manifest it in the Goddess.