View From The String: Thoughts on Effect of Process

Theopolis Ridge

Reality is a web of Strings. Everything is bound by String, made of String, and connected to everything else by String. Within all things, within all beings (which are the same thing) are extra-dimensional puppeteers, crouching, surrounded by a curtain of String.

When we look through human eyes, this is what we see: the curtain, the cocoons- marionettes made of String. When we look through human eyes, we see light, the spoken expression of the String. When we look at String, we see past the light to its meaning, which is String.

When we touch light, it does not touch back and we feel nothing. When we touch String, we touch the world, and so, can make it move. String can be pulled. String can played. String can sing and so we are. So is everything.

The apprentice puppeteer first learns to appreciate the works of the master of the art. And so he learns to see everything as being not everything. She learns to see that everything is a marionette of everything made of String.

More practically, he learns to see the Strings which connect the marionettes of her general vicinity as well as the Strings that guide their current activity. Thus, a rock could be seen as not a rock, but a marionette of a rock made of String. Furthermore, should the rock be considered precious by a nearby boy, the apprentice could see the String connecting the two. Or if the rock were once part of a nearby mountain, the String of attachment might be visible. If neither boy nor mountain are near, the apprentice would see Strings running off in the direction they are. If the rock was recently pushed off a forbidden tower, the apprentice could witness the String pulling it down to earth.

Some vague information may be gleaned as to the nature of the connection or the type of control enacted based on the String's various qualities; such as thickness or elasticity. The clarity by which the String may be perceived and judged is not static. Generally, the thicker and more rigid the String (stronger the connection, more heavy-handed the control,) the more easily perceptible it is.

Having learned to see the Strings, the marionette of a puppeteer made out of String now learns to touch them. Reaching out, he may grab a hold of one of the larger Strings and pull. This causes whatever the String is attached to to move. Smaller Strings remain out of her grasp, however, as they are more web-like and complex in their structure and generally connect multiple things rather than two things (it's beyond the puppeteer's current know-how to cause the desired manipulation.) The puppeteer is further limited by the abilities of his Elephant-like body. Thus, she might move a vase off a shelf (only the pulling of the lateral String would be necessary- the earth has its own Strings to bring the vase home,) but not a tank- unless he's really really strong.

The puppeteer must now touch a String and know what its connected to. If the puppeteer has sufficiently built her Wall of the Inverted Crocus, then the puppeteer can either mentally travel, or send a personae to do so, to the String's terminus and get a fuller view of what, therein, lies.

The puppeteer may subtly change the properties of Strings he may grasp; altering their resonance. For instance, the set of Strings commonly thought of as gravity may be described as resonating with inevitability. By altering the resonance of a String pulling a rock to the earth, a puppeteer might make its pull feel probable rather than inevitable. The rock will still go down, but it won't feel that it necessarily will be moved downward.

The puppeteer then may spew Strings of her own; emitting solitary threads between himself and any other marionette within her immediate vicinity.

Existing Strings may be manipulated with maestro-like skill, several threads all moving at once to create a coordinated dance of an effect. Moreover, the puppeteer may now make move Strings through other marionettes. For instance, if the puppeteer has access to a rock but wishes to move a stick which he does not have access to, she may manipulate the stick through the Strings connected to the rock. Furthermore, the puppeteer is no longer limited by her Elephant-like form in making things move, using instead his will coupled with the myriad metaphysical pulley mechanisms she has learned to utilize.

The puppeteer may now change the limberness and thickness of Strings, changing the strength and rigidity of the connections between marionettes.

Then comes the time when the puppeteer may bind any two marionettes together with String. He may, furthermore, act as a nexus, connecting multiple marionettes with String, so long as she is one of them.

The length of Strings is now open to his craft. Shortening and lengthening Strings can alter their effect in terms of space- voiding or extending their pull beyond a certain distance, or in terms of effect- shortening a String in this sense might either physically slam two marionettes together or else bring them closer in other ways.

Having previously learned to manipulate complex String work, the puppeteer may now look out into the world of String and see which ways the Strings are pulling. The puppeteer may use these perceptions to grant insight into what actions are most likely to take place as a result of this pulling.

The puppeteer may spew forth lots and lots of Strings. He may see the marionettes that make up the marionettes and, should she wish, attach these Strings to them. Manipulating this myriad of Strings, or the ones already in place, allows for more complex manipulations than ever before. These are really complex! For instance a computer or a human is a marionette made out of String. So too, however, are their component parts. The master puppeteer may interface with the internal interactions between these wee marionettes for more subtle, and decisive, control.