The Hellside of Adventures

There is a mortal danger about adventures – which is not different from the danger attendant upon life in general, in that same sense – yet, in combination with the involvement with adventure, producing a more engravingly deadly effect upon the experiencer, and what more, active participant of the same. It suffices to be so connected to virtual reality via some media, whether advanced technology or books, whether exotic or mundanest of objects; whatever one selects for an adventure journey, that same thing becomes, to one, fraught with danger of a mortal blow that shall persist eternally.

What is this danger? It is precisely because it is so rife that few care to consider it gravely, being as they are possessed by it while being blind to it. The danger is thus past the mere potentiality of danger with many already – but is the very death and destruction in full effect, catching its victims in the maze where the beast devours them.

That danger is that a person will experience adventure without the necessary parallel progress in life internal; and now, how common the phenomenon is! many look to art, in that vein, as a source of entertainment, whereas in archaic times even the concept of entertainment was different. From its meaning of reception, intake, and consideration in the past – when entertaining some thought or image, or any other influence, was vested with the whole gravity of that process which, when overlooked or insufficiently appreciated and acted upon, inevitably leads to the admission of something deadly, something with as wild side-effects as cannot be with any convenience or ease removed – from such a solemn understanding of entertainment as a pregnant inner process that is always injurious when wielded improperly – the concept drifted, or rather was craftily made, into mere experimentation, with that deadly facet becoming all but obscured, and hidden from people. For what other reason would such a development arise, and become eminent (entertainment being mass broadcast as fun in these days), than helping the victim fall into the trap all the more easily?..

And what is that trap, that danger, when exposed for what it is? Above was said, that the danger is that a person would not progress internally. This has to be spelled out more particularly. A person, especially in the case of adventure seeking, is easily tempted to let excitement take the upper hand of his being – so that he or she would be mesmerised, hypnotised, by the unfolding events – without the internal knowledge of the things that pass by their eyes – whether in reading, watching a motion picture, listening to audio recordings, or being involved in some real-life events. It is all too easy to leave, or even never once truly be inside, the inner tabernacle of one's being – where alone the hand of God leads, the voice of God speaks, the Spirit of God guides, and warns, and in all diversely necessary ways equips, one to avoid the danger that proceeds from outside, or any external layers where inimical influences roam to seize you and entrap you, and neutralise, and kill you spiritually. In other words, if when the story runs, you do not hear the over-story that God tells about it – you are lost, and damned, and trapped in the illusory externality of life, which is actually the spirit of sin and death introduced and thoroughbred by satan on this planet; if God has not the supreme say in you, inevitably the devil takes the lead – and that lead is the lead of yourself, the rule over yourself, and here even a slight side-track suffices to derail all of your being – since you are not rooted in internal life, since you neither know nor follow Jesus.

Here is an example. In R.L. Stevenson's story 'The Bottle Imp' detailed are circumstances of certain people's dealings with the devil. An object, the bottle in question, binds all of its possessors to hell – because the reception of the thing is the pact with the devil, which is nothing else but selling one's soul to him – and that for only some temporal comforts which one receives by wishing those things while in possession of the accursing bottle. Most peculiar is this wish-wishing while in possession of a magical object – being as it is a subtle mind control technique in common with folk and fairy-tales, establishing the connection of devilry not merely with the adult world, but as early as childhood – obvious evidence of satan's wicked work in order to deprive mankind even of an initial hope of salvation – that the door to God be untasted, unknown, and easily discredited till a hell-binding and -stamping death.

If someone reads that story of Stevenson who is not spiritually protected by Jesus Christ, that kind of 'adventure' may easily mind-control the reader, the experience, to receive the accursing seeds of satan by internalising the concepts of soul-rejection and soul-selling which form the blackest and strongest theme of the said piece of writing. Thus, what by such a reader may be viewed as some sort entertainment understood through the modern prism, becomes thereby a sure bringer of spiritual death and damnation to the person – because he has not, in the course of the reading experience, of participation in that 'adventure', been guided to note and mark the things there set down in the light of Jesus Christ inside his being – that is, the Life of Christ did not save the person on that occasion, because the Life of Christ was not even there, inside him, as he, the experiencer, was with the damnific experience outside his being, not in the experience of God's over-story that, by His very word, is Spirit and is Life, that is all that which obstructs and rejects sin, death, and damnation.

Not enough, but a person without Christ will not know, on finishing the story of the bottle imp, that the story does not end where Stevenson ended it. Since without repentance no dealings with the devil are erased – the 'happy life' of the couple in 'The Bottle Imp' is an illusion of satan, a trap of the devil, the symbol of the trap that all adventures inevitably are when one engages with them without the permission, counsel, and aiding guidance of God. In other words, without being on the path of Jesus, all your adventures are but so many approaches closer and closer to gehenna. That is why the devil exults in running an industry of entertainment today, ensuring a place in the pit for millions and billions who lead entertainment-based lifestyles, where the adventure has morphed out of a potential instruction of God (if you had gone that length on His side) into an alternative to going with Jesus – which is the sure and very death.

As for Stevenson, who is about ending without telling the real end, when that is damnific? Here shaman-satan-mason come together. Occult and masonic writers without the Spirit of Jesus, even when they document realities of life, do not lead the reader to the solution – but oftentimes away from it. Because when you believe that only as long as you give the cursed bottle to another you yourself will not perish – you thus only prove yourself to be under the mind control and under the rule of satan – who through every single act in union with him establishes adamantine connections with that soul that bind it to eternal torments, connections which are only severed when one comes fully and earnestly to Jesus, washes away the sins of the past in deep repentance and its corresponding fruits, and obeys Him without ever stopping again.

as not for nothing, the end-refrain of the lyrics from the track played during this inditement  sounded 'you are come here to move through time and space' as 'you are come here to lose your time and space'...