this is the third time i've played it and i still can't deal with it

anonymous asked:

I've always been so curious about being spiritual. I have crystals, I do reiki... I hear (high pitched noises, occasionally drum rhythms). But I want to open my 3rd eye. I also can't meditate! I've tried but my thoughts just race onto different topics. How do I open my 3rd eye and how do I meditate properly?! :)

One of the great traditions in meditation is clearing the mind. This skill has many indirect, positive effects. Normally, the mind jumps from one set of associations to another. The Buddhists had a name for this common condition: monkey mind. Clear thinking is lost in a sea of many associated thoughts rushing around. Once you learn how to empty your mind, you will be able to think more clearly. With the mind-chatter from the minor concerns of daily life cleared away, you become less scattered, more single-minded and self-directed. Solutions to problems are easier to recognize without extraneous thoughts to distract you. You can respond to situations in a more mature manner.

The untrained person experiences thoughts as occurring automatically, beyond control. Psychology and meditation teach that the contents of your mind can be influenced, just as readily as a sculptor can shape a piece of raw wood into an object of beauty. The interaction of the artist’s inner vision with the qualities and capacities of the wood makes this possible. Attention and concentration, applied meditatively, are your tools for refining control of your unconscious mind.

Meditation 1: Focus the Mind
Sit comfortably in a place where you will be left undisturbed for the time you devote to this meditation. Find your comfortable sitting position as described in “Getting Ready.”

Close your eyes. Focus all your attention on one color, your favorite color, or perhaps white or black. Picture the color. Can you see your color? If not, think of an object that is this color, for example, a blue sky. Keep all your attention focused on your color.

If any thoughts or feelings intrude, or if your thoughts wander, gently return your attention to the color you have chosen as soon as you can. When you feel ready, open your eyes.

Practice this meditation several times a day at several different sittings. Once you can keep your mind focused for thirty seconds, increase the meditation length to one minute, then two minutes, then up to as long as you like. Some people like to meditate twice a day, for fifteen minutes morning and evening. Find your own rhythms.

Meditation 2: Beyond Thought
In this meditation you will work with your thoughts to reduce the mental chatter, until it stops. Sit or lie down comfortably. Close your eyes as you did when focusing on a color or focusing on breathing. If a thought pops into your consciousness, notice it, think about it for a moment if you must, then let it go. Return to your focused attention: poised and observant. When the next thought comes along, do what you did before: notice the thought, think about it briefly, but disengage from it and return to your concentration as soon as you can. Your task is to stay focused. You can think of your mind as a vast river and your thoughts as small leaves or branches floating along. With time and practice, you will be able to watch from the banks of the river and allow the leaves and branches of your thoughts to simply float past, with little notice except to observe that they do move past. Eventually the stream of consciousness clears, and no new thoughts occur. Remain in meditation with a still mind until you feel ready to stop.

Meditation 3: To Clear the Mind
Once you have succeeded at focusing your attention on one thing for several minutes and following your mind to stillness, you are ready to sustain clearing the mind. Let your mind empty of all thought. This means think of nothing, a vast empty space, a void, or complete darkness. Begin with thirty seconds and increase the time as you did when focusing the mind. Regular practice, daily if possible for a few minutes at a time will get you started on a process. In time you will find this meditative state quite natural and effortless.

Opening the pineal gland/3rd eye:

This is done with a specific tone and chant. You only need to do this exercise for 3 days, afterwards, it is permanent.

The mantra to be used is “Thoh,” pronounced “TOE.”

It must be within the correct vibration.

Not deep, not high pitched, inbetween, like alto range.

You will feel it when you hit the correct tone. So play around and don’t second guess yourself. When you think you’ve got it, you probably do.

1. Sit with your back straight.

2. Breathe in through your nose and hold your breath as long as is comfortable.

Open your jaws so there is a small space between your top and bottom teeth.

Place the tip of your tongue between the space of your slightly parted teeth.

3. Put a very light pressure onto the tongue with your teeth.

This is like the same process of saying the “TH” part of the English word “the.”

Once your tongue is in position, release your breath slowly through your mouth, saying T-H-H-O-H-H in one long exhale.

Say the word one time per exhale. Your tongue will be vibrating between your teeth.

You should feel the air moving past your tongue and teeth.

If this technique is done properly, you will feel a pressure or sensation in your jaw and cheeks. The tone will also vibrate in your third eye.

It may take a few seconds to adjust this, don’t worry, just keep going.

4. Do the above 5 times in a row.

5. It is very important the above exercise be done for 3 consecutive days, 24 hours apart. Then it is a done deal.


1. One of the first experiences is a headache or pressure in the center of the forehead. This sensation may also feel like it is originating from within, usually an inch or more beneath the surface of the forehead. This is a positive indication the pineal gland is awakening and beginning to function in a healthy manner.

*Some people can experience a migrane lasting several hours, so to be safe it is recommended that you try this in the evening when you do not have work to do. The severity of the side effects will depend on how atrophied/calcified your pineal gland is to begin with.

2. After the occurence of headache or pressure in the forehead, you may wake up one morning with a throbbing or tingling sensation in your forehead; it may feel like a goosebump.

The feeling may be very intense, like something is there. The sensation of pulsing or throbbing will continue throughout the day, and you may “hear” sounds coming from within your head, such as light popping or crackling sensations.

These are the final phisiological events you may experience after opening up your third eye.

anonymous asked:

Mr. Gillen, how do you, as a writer for graphic novels, determine the amount of issues that a story will need? Mini-series sound easy to figure out since those tend to be only six issues long, but how do you figure out the amount of issues you'll need once you start work on an ongoing series? I've seen ongoings with forty issues and ongoings with over a hundred, and I can't figure out how authors deal with that. I mean, you folks have to plan it all out... right?

I’ll get back to you on this.

Joking aside, that’s the art of it all. You’d be right a mini or an arc is relatively easy, because it’s a smaller part of planning. but there’s still a lot in there.“What can fit in an issue” is one of the biggest skills in terms of comic writing. There’s so many variables there. It’s not even the question of “What can fit in the issue” but “What can fit in the issue and be emotionally effective.” You can fit close to any amount of story in a space if you try - look at recaps in 30 seconds. You follow what it means, it just doesn’t mean anything to you.

(I’ve always wanted to do a whole comic done at the pace of a recap. Maybe one day, though I suspect my desire to see what it looks like is at least in part as a riposte to anyone who does WHERE PLOT? sort of criticism of books)

Some of it is just planning and knowledge. Uber has an outline of the whole thing, arc by arc. It doesn’t include everything that happens in it, but it’s got the sort of shape of it. You know - the Nazis invent this, the Allies invent this, etc. As you know basically how much narrative space you need to tell a story about those major events happening, you can work it all out.

In other words, if you know roughly how much space is required to tell a mini-series, you can extrapolate out to how many stories there are in your larger structure and do some basic math. The majority of long runs in the Vertigo closed series model (That 30 (Short - Loser, etc) to 100 (100 Bullets) issue structure, with that 50-70 issue mid-length epic) would be based on that. However, it’s also worth noting that all of their structures are loose enough to follow developing interests as you progress. When you are doing a five year project you discover more stuff about it, and generally speaking you build the opportunity to do that. I suspect even if you’e Jonathan Hickman, who is very much the “I can tell you what happens in issue 77″ sort of writer, there’s still masses of stuff you invent along the way.

(In the case of WicDiv, the space is primarily in the stories I want to do about other Pantheons in other time periods, but it’s also in some of the more soap-opera inter-pantheon play which need room to work organically.)

You do enough planning but leave space to do other things, I think it’s worthwhile looking at some of the long runs you admire, and reverse analysing their structures. Write their arcs down in a row, and then work it out into phases. What happens in each one. Can either be grouped together? What is the plot of each arc versus the larger plot it contributes to each other. I mean… let’s take Transmet. While there’s room to improvise by Warren, allowing him to delve anything about politics and futurism that takes his fancy (enabled by Spider as a character) you can break down the phrases of the book relatively neatly. SPIDER RETURNS TO CITY AND STARTS COVERING POLITICS, CONNECTS TO PEOPLE, DESPITE HIMSELF. OH SHIT, THIS PERSON DIED. NEW PRESIDENT WORSE THAN OLD ONE, etc, etc.

At the highest level outline, it’d be something like a start phase where Spider meets the world, and a whole long second act where spider and the smiler escalate the threats against one another. Er… this is very broad strokes. 

In the case of WicDiv, the first year’s structure will be visible a lot more in retrospect, but could be roughly paraphrased down to “We meet the world and build the Drama Engine while appearing to run a Murder Mystery.” I mean, in the case of WicDiv I did know it issue by issue, but I can imagine when first thinking of it, I’d be thinking “First year this, second year this, third year this, etc.” In the same way as planning an issue takes a lot of experience in terms of what can effectively fit, that sort of thinking is based upon your experience of writing a whole bunch of stories.

Depending where you’re doing it, some people (including generally speaking me) have alternate plans. On Journey Into Mystery, I had to make the plan flexible, as I’d been at Marvel for a while and knew how books can be buffeted around by publishing plans and you can’t be guaranteed how long a run will be. I had to be able to both adapt to anything and be able to do it in a smaller space if I had to. I’m very glad I did that thinking in advance, as the former was much more intense than I could have possibly have considered, and the latter almost came into play (I had another complete alternate end for JIM I’d cooked up if I couldn’t get to the one I wanted.) With Uber, as it’s a historical book, I have a one-issue just-the-facts sort of idea for a story that I could use to end the book at any time, etc.

This may be practical. This may speak to my insecurity. I suspect it’s both. I realise it’s kinda telling that WicDiv is the first thing I’ve written without an exit plan. I jumped off the building and assumed you would all catch us, which you have. That probably says something else too.