Death to Life

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The day of atonement party is perhaps the most versatile scripting component. Each scene of the gospel is a shortest possible form for an entire day of atonement party testing a particular precept of the law. The miracle of Jesus is that he isn't shipped off to crucifixion after the first page. Jesus was good enough to persist through all of the choreographed deathtraps; at least to the end of the third year when his fateful decision to prove his right as a prophet leads to his downfall. A day of atonement party is a preset trial format and the precepts of the law are swapped in and out of the template as necessary. The surrounding format of the day of atonement party changes depending upon the precept under investigation and the architectural layout of the boxes in which the party is being conducted.

The day of atonement party was originally a death sequence. Individuals living in the community (of witches, going to hell) were expected to perform properly according to their responsibilities and obligations to the remainder of the community; a cueing system. The day of atonement party operates like the sphinx by testing individual's decisions and responses to their cues in the scripted event. The forty key members of the community gather together and all of them participate in the group testing session; made possible because all are practicing a religious path of life which has been refined since the first paper pressers modelled the first leaves. The day of atonement party seeks to identify which individual is performing at the lowest level (response times, successful operation with other functional parts of the script, deviations from the protocol or negative interactions with the other participants) and then determine their weaknesses. The weaknesses of the individuals are then communicated to the verse-response patterns of the other participants and, due to the religious and training nature of the practice en totale, the community as a whole works to drive the weakest members to hell; a functional pyramid over time.

In the labyrinthian eras individuals were not allowed to move about the towers and labyrinths at will. Qualifications and passwords were necessary to enter an area (for personal endeavor) or to qualify to enter an area as a staff assignment or privelege (as if any progression towards hell could be misconstrued as a privelege). If a weak member of the community was remaining out of hell, or their next progressive step on the route to hell, then the day of atonement party would train the surrounding members of the community to execute a herding effort to assist them in their progress. In the case of a password for a section of hallway in a labyrinth the concept is quite easy relate with teaching a new word or joke to an individual. In the third and fourth ages of the world, when the routes to hell are completely transparent proxy managed by the morticians, the day of atonement party is a functional setting to assist the human to achieve aging necessary to enter the catatonic power-saving mode by which they may be shipped to hell or, in the fourth age, the accounting proxy heaven.

The day of atonement party, as it exists within the law of Moses, is written for a set which includes two hundred people and standardizes around a four hour segment. In the law of Moses the day of atonement party format is also used for marriage ceremonies. If the humans were yet in the first age then they would be skunking to espouse and would not need a ceremony to convince them to participate in marital functions. The marriage ceremony, as it screens the participants for weaknesses and applies cues, may be used to only identify weakness. The necessary cues to advance the participant on their route to hell may be harvested and then used at later times: marital retreats, nuptial disagreements, or, in an eunuch world, whenever the managing eunuch needs a few extra points in performance review. A very gross representation is seen when looking at the rosters for hospital emergency rooms; "I've fallen" down the stairs "and I can't get up" is, in real life, most often the husband.

130629 SAB

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