The Christian Holiscendent Redemption Paradigm of Story

 

The mission of The Christian Holiscendent Redemption Paradigm of Story is to provoke the reader to consider the necessity of redemption in Christ and to live for Christ through meeting readers where they are, keeping Christianity behind a "veil" to touch hearts beyond preconceived notions and paradigms, inviting the reader to share a redemptive journey alongside the characters, and the final revelation of God and the Gospel. For Christians it offers a newfound awe for our relationship with God and the church. Unbelievers may read it and find the  biblical narrative and the Gospel so beautiful that they put their faith in Him. The book also can act as a unifying cultural source for Christians to build bridges between different lives to live more greatly as one in Christ. 

 

The Redemption of Invynceth is revolutionary in the realm of Chrsitian literature and witness. 

 

The Redemption of Invynceth Representation of Christianity 

At least, for Fall of the Ancients

 

WEll perhaps here's another approach, because any tie even if it's with with fictional language and terminaoology or worldbuilding I mention Christian doctrine and themes it could possibly make some readers close the book. THe logic relationships of that language can be different from real life so that the reader can reconstruct the idea of God on thheir own . The characters in the story can struggle with the language and try figurin it out and creating new languge and discovering the new language. There can also be multiple new lagnuages. And cultures. Not just language, but cultural contexts, and historical. This also may prevent them from being resistant to Chriistian doctrine if they were to know that it was Christian before reading it.

 

In personal journeys of redemption

 

Act I. Use human events and allegory (because of Imago Dei):

 

Allegory includes: Searching for the light, (as seen in the Prologue and Chatper #4) and water and Xuvinial’s visions

 

Idea: What if I portray that light in mich more person, vivid terms for Xuvinial? I can keep the abstraction, such rat it doesnt feel like the allegory only applies or refers to the specific characters' situations but rather feels like its one specific situation under a broader arc or pursuit o. 

 

One way to do that is by giving the allegory a story of its own and the metaphor logical chain its own. Another is to make it an ancient legend or a universal system or some kind of eternal timeless narrative or arc or 

 

Xuvinial disocvers the light for himself, but then Thallious also does, and Normia does too, and everyone else, and more and more people experinece it indiffenet ways, but its so different and they are so broken that they don't necsesairly realize they all are struggling with ultiamtely the same existential things—or at least, they don't necessarliy fully realize it. They don't even necessarily know they are all doing that, or they don't necesesairly know its the legend or a more timeless existential narrative interwoven in to the history and anything that is “in between” or “encompassing” the peopel (if there si such a legend)

By “in between” or “encompmassing” I mmean the literary setting(s) (such as the culture, legends, history, locations, societal landscape) in which the characters interact and in which there relationships take place. And quite literally—what is in between mmeans just aspects of the evolution of their relationships that in themselves are not the people (my definition of story is evolution of  desire and good over a time structure and the evolution here might be the evolution of a relationship and therefore being in between). And the evolution of the relationships and in between and ecnopassing do all have the underlying universal existential narrataive(s), but htey don’t realize it.

• One purpose of this is that the reader can individually resonate and think of that, as mmore and omre characters are revealed to experience the same universal existential difficulties, thye ralize more nad more its not just them, but others too—and eventually realize it is timeless and universadl struggles.

 

So how can one make the same story/universe resonate with all kinds of backgrounds? It is possible for a single book to do remarkably well on taht, given the diverse and holistic (or at least, ideally holistic)  perspectives, narratives, themes of life integration. In addition to the universal narrative of the book itself, I can have multiple versions of the book that have a different structure, but still the same TRoI narrative and paradigm. However, because of the fact that one story, when presented linearly, always is read in the same order with the same framing and structure and events, it is limited. Therefore we should have a dynamic ecosystem where story is beyond simple linearity of reading, and the number of structures and story paths and perspectives and characters and backstories is infinite. And many versions. People should be able to know which version they have, know about it, and which one they want. And people can buy different versions of the book, have conversations about it, and slowly realize that they have different versions from different perspectives. The narratives can then come together.

 

This relates to the Holiscendent Life Evosystem

 

This means that a story embodying the dynamic.

 

So then, . 

How can I do this? I need to have a Christian writer’s guild under this particular mmission. We can write fro different perspectives and use the convotransformative web.

2nd and 1st person narrative with God as the person the 1st person is talking to.

Convotransformative web and people, not person.

While doing the 2nd person though, I thought, ”God already know she story, why do I need to say it like a story?” It’s because story is how good and desire evolve over time (a time structure), which is not dependent on whether the person knows it or not. It’s about the raw personal experience. This is why you can watch a show or read a book 10 times and still love it just as much, if not even more on the 10th time.

 

How is it that we are able to .

 

Act II: Gradually reveal the veiled Christian doctrine of the story. This includes any element of the story that directly or indirectly is or has to do with the doctrine, possibly including the world, plot, and characters. Gradually reveal the profound horror and depravity of human sin and need for God. Not directly, but indirectly.

 

Yet, characters will disagree and oppose each other heavily over the nature of those and therefore split relationally, communally, and societally. This is embodied in the dimensional split. This will profoundly affect the course of the story.

 

An essential example of this is that characters could disagree over the nature of the supreme being character in the novel. 

 

The actual nature could be revealed by the end of the story after the other approaches are shown by the narrative to collapse. 

 

Disoriented represents either serving two masters, the both being right part since they all see each other’s flaws but don’t really see their own as much, while some see their own flaws, and .

 

For Xuvinial, provoke the reader to existentially half-root for him, yet half urgently and profoundly concerned for him simultaneously. 

Root for what he really needs and doesn’t have. Desirinig to redirect Xuvinial towards the light

 

This part will be experienced differently 

 

If the reader is Christian,

 

If the reader is not Christian,

 

They may feel closer to Xuvinial in the confusion. It may be more as “You have to go there… but I don’t know where there is. I’m not there myself! How can I help you?”

 

Act III: At the end, which is after the deconstruction of the life approaches/idols/idols that do not work, make the Christian doctrine more Christian (still using fictional worldbuilding and doctrine). 

 

There should be a profound sense of the human brokenness and the horror of sin without God as a result of the deconstruction—but this should last briefly and should never be a resolution in narrative arc terms, otherwise readers may feel hopeless. The sense of the horror of human sin must be quickly followed with the revelation of Christ. That is, reveal the true nature of God, humanity, and the Gospel.

 

Principles to keep throughout this structure:

 

1. Make it unmistakably Christian either way. Without this point, TRoInvynceth could be seen as promoting a false faith, which is absolutely opposite to the intention. This ensures that the story does not inadvertently align with other religious ideologies, reminiscent of how Jesus clarified the fulfillment of the law and prophets in the Sermon on the Mount.

 

1. Integration of themes and morals under the ultimate theme and narrative of redemption and need for Christ. The human approach and allegory are also not necessarily focused on particular morals and themes. Themes and morals are rather integrated under the broader narrative of redemption: original beauty, sin, salvation, and restoration to far greater

 

1. The Christians in the novels may seem as though they are relying on an entirely different realm, but nobody can figure it out. 

   1. This is remniscent of how often people may say “something different about that Christian”

   2. It mirrors the idea that we are not of this world.

 

1. Use literary devices such as mystery, allegory, fantasy, metaphors, symbolism, to lead the reader to be curious and repudiate the approaches that are man-made to try to discover the Christian narrative themselves. 

5. Use Fictional terminology and a fictional version of Christian truths and doctrine. 

\ For exampmle

• God could be presented, instead of directly with the word “God,” as perhaps along the lines of what we learned in apologetics: morally perfect, timeless (and if it is ultimately the same thing as being eternal) eternal, self-existent, infinitely powerful, infinitely wise, immutable. However, one should use literary devices in the present sense, and ideally, in a broader sense. 

  • Presenting God not directly but through attributes, as you mentioned learning in apologetics, is a profound approach. It brings to mind Paul's speech at the Areopagus in Acts 17, where he speaks of an "unknown god" to a Greek audience, revealing God's nature through His attributes and actions rather than naming Him directly.

• In turn, humanity and its idols can be presented in terms of needs and attempts ot fulfill them with idols. These will by contrast reveal the true needs of humanity. These should be apparent and explicit before the revelation. These will relate to the character, attributes, as well as the manifestation and pursuit of God. 

Story and Character Arcs:

 The Redemption of Invynceth Story Arc

1. Introduce with a fable-like

2. Show the current people

3. Sense of impending doom, difficulty, etc. and need to change

4. Trying to implement the change and redeem oneself, others, community, and society

5. Almmost seems successful

6. Seems like failure

7. Trying to implement change, wiith redirected measures, possibly deconstructed 5. And the redirection is more confused and built up something that seems to be new.

8. Almomst seems successful

9. Doom 

10. Descent into terrible crisis and going home

11. Finding God

Redemptive-Transformative Deconstrucution-Reconstruction arc

1. Fable-like

2. Introduction of the characters, on a more superficial level

3. Heartfelt/personal to 

4. Active manifestation of personalized heartfeltness

5. To deconstructing the superficial like and acknowledgement doesn’t correspond with 2.

6. Back to heartfelt/personal

7. To reconstruction

8. To heartfelt/personal

9. Active manifestation of personalized heartfeltness

10. Thematic Epilogue–give something that really shows the overall significance of the story and characters.

 

•  

So I may gather many people who we share a vision, and we can work together on it. It’s almost like we’re living The Redemption of Invynceth, I Ean it was largely meant for society in our currents state after all so it makes sense we’d be living it out in suc a similar way.

 

That makes me think Xuvinial could gather with any people who share a vision and work together on it, but this time he is not as King of Invynceth but rather he is akin to Pau coming tot he Apostles. s I am thping that thag makes me thibk, who are the other “Apostles” in TRoI in addition to Xuvinial?

 

Perhaps in Theh Redeption of Invynceth there could be such a meta-awakening appraoch written in the sotry itself. This would remind us in reality ow we relaly are living out The REdeption of Invynceth, and serve as na invitation to those who are not yet in the journey. 

 

Holistic Life Evosystem 

Active invitation to fandoms, groups, online forus, or things of our own space at comicon according that align with the ethos of The Redepmtion of Invynceth

Meta Awakening Appraoch

 

ABSOLUTELY IMPORTANT: Never present a dark state as an end or a resolution. Perhaps if it apparently was that, it must only be done like that very briefly and as long as the words are conveyed as narration rather than direct representations of truth (it would take careful writing to accomplisht that though). Write not only the narrative but also give apologetic argumemnts for the existence of God and Christianity. Use arguents that apply to the real world but frae the in context of the fictional world of TRoI. However, the challenge would be if how the apologetics for Christianity specifically can be woven in to the narrative.  

 

•  

 

Meta Awakening

 

1. 2nd person. Remember the litera=ry technique used? 

2. Perhaps flow between the literary-RPG and the classic novel for TRoI. This includes using present tense at times.

3. Mimic all the kinds of ways one might receive this book from and read the book. This may include receiving it at a community event, reading it with a friend, reading it alone. It also accommodates diverse ways . Yes, even to those who know the author personally. This can be done through many perspectives and perspective shifting in just the right ways.  

4. Active Novel, not merely passively read—traditional literature often is passive, and finding the meaning requires the reader to dig it out. However, with innovative approaches, I can make it more active and obvious, such that the text begs to be analyzed, not merely waits to be analyzed:

   1. Fractal literature -> new understanding created

   2. Take inspiration from Undertale—the way it breaks the fourth wall and addresses the player directly.

   3. Active intertextuality -> new understanding created

   4. Active literary interconnectivity such as through cross-references -> new understanding created 

   5. Active connection to real life narratives, including communally, societally, and relationally, but especially the reader’s own.

   6. For example, some parts may be so broad and general, or even ambiguous

   7. Consider a letter that is simply addressed “Dear reader,” in the novel. The reader may initially think it's actually referring to them, but then realize it's technically not, yet realize it can also be them. Or make it ambiguous by including parts of it and frame it in such a way that it almost seems to refer to the reader but just stops short of doing so. Then reveal it is actually referring to the character. 

      1. This relates to the technique in filmmaking where one symbol or reference is taken in one scene and the very next scene takes that symbol or reference in perhaps a different context and perhaps in a different sense in which the symbol or reference could possibly mean.

   8. Create multiple novels and use mediums of story that fit the convotransformative web for different audiences and places in the spiritual journey.

5. Shakespearian ambiguity from multiple perspectives in a way that it creates a whole arc about what the story is even about in the first place in the deeper aspects. 

   1. Then resolve this arc later with truth. “If you abide in my word, you are truly my disciples, and you will know the truth, and the truth will set you free.”

   2. Even more and more clarity of truth. Like TSFH’s Return to Sender evolution almost/perhaps 

6. I myself will have a story in the story. I’ll be one of the narrators aside from `the third person narrator and a character in the story. And I will speak directly to you the reader