Libation (Imagindarium)

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ONTO AN AUDIENCE OF ONE

This content takes place in Imagindarium's Creation.

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Index / Lexica / Timeline

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"Behold Vermeil,; the great golden glow of Libation. How strange the turn of fate, that among all the children of Old-Typhonia, it is she — this woman — who has been granted the solemn privilege to witness that which is, that which was, and that which ever will be, or never shall be."

"A jest woven into the tapestry of time, for was it not the Sovereign-Spawn, the Seraphnim, who hungered most for such depths? Endlessly they labored, sacrificing a thousand manifold lifetimes in pursuit of the unknowable."

"Yet now, it is I — the last of Isariel’s faithful daughters, sworn enemy to those Seraphic aspirants — who stands as bearer of the Gilded-All."

"I am the infinite beyond infinite, the arbiter of that which is, that which was, that which will be, and that which could be. Or rather... I shall become so, with your aid, my beautiful granddaughters."-Kassandra Novum

Libation

Libation as it appears in the Imagindarium's Creation cosmological map

Meta Info

Article Creator

LordSkorne7

Scope

Scope:Imagindarium

Setting

Varies: Primarily Ambrosia (Imagindarium)

Author

LordSkorne7

Planular Makeup

Part of

Presence of Totality

Primary Composition

• Amaranth
  
• Vermeil

Primary Colors

• Amaranth
  
• Vermeil

Fundamental Forces

• Amaranth
  
• Vermeil

Predecessor Macrocosm(s)

"A'th"

Successor Macrocosm(s)

Cosmoria

Overview

Libation; predominantly known across the universe as the "Great Collective," is the conceptually most massive of the Trilateral Realms, which together comprise the Totality of Imagindarium's Creation. Its presence within Creation is largely unobtrusive compared to its sister Realms, Ambrosia and Thavma, functioning primarily as a background process in the Line to the End. However; its importance is of such criticality that no degree of emphasis could suffice to encompass it all, for it is within Libation that three of the most important processes in the culmination of Imagindarium's grand design toward its Ultimate End are made manifest.

Libation, like its kindred Realms, was among the first manifestations of conceptual existence to emerge through Amaranth; the enduring will and intent of Imagindarium. It was the second to come into being, preceded only by Typhonia, which would later transfigure into Ambrosia. Libation’s emergence followed a great and golden cataclysmic light, forming into that of the second color to take form within existence; Vermeil, that of which all Linneric Elements would find their genesis. This event stood in stark contrast to the enduring Amaranth-hue of Typhonia, reinforcing Libation's role as a distinct and segmented facet of reality. Unlike the unbroken continuity of Amaranth that composed the primeval Typhonia, Libation’s formation signified the beginning of conceptual differentiation within the structure of the early Realms.

While an endless multitude of all forms of beings that are, were, or could ever be inhabit the boundless halls of Libation, their existence is contingent upon narrative relevance. None possess the capacity for independent action within Libation itself; all remain dormant, held in reserve until called upon by the movements of the Design. All, save for one:

The Great Unifier — the sole active inhabitant of Libation — is the progenitor of conflict and contradiction, the embodiment of their opposing ideals, and the most potent entity across all existence. It is within Libation that the Great Unifier resides, and from this locus it extends its will across the totality of Creation. Through its agency, countless pivotal moments in the Line to the End are brought into full manifestation, shaping the course of Imagindarium’s unfolding through acts of supreme narrative consequence.

Libation's Enduring Purpose

Libation's purpose towards the End's fulfilment is that it alone serves as the reservoir of all narrative potential within Creation, anchoring the latent foundation upon which all realized phenomena are constructed. It holds the totality of conceptual being in a dormant, pre-expressive state, awaiting activation through the narrative mechanics of Ambrosia and Thavma. In this role, Libation acting as both container and governing structure, determining what is and isn't possible within the bounds of the Design. Every idea, Ideal, archetype, paradox, or identity — no matter how minute or grand — originates from its infinite ontological archive. It is through this containment that Creation maintains coherence, ensuring that every emergent form is drawn from an internally consistent reservoir of potential.

As the seat of the Great Unifier — Creation's sole and true Antagonist — Libation becomes the origin-point of narrative tension, and the predominant force to which the Line to the End unfolds. The Great Unifier is Creation’s most predominant and sovereign wielder of them. As the sole active force within Libation, the Great Unifier enacts these principles as deliberate instruments of narrative transformation. It is the architect of divergence, the executor of opposition, and the willful source behind the most universe-altering events across the totality of existence.

Every cataclysm, every fracture, every narrative turning point of irreversible consequence bears the mark of its hand; forged in perfect accordance with its omnipresent role within Imagindarium’s Design. The Great Unifier acts with absolute precision, introducing conflict, paradoxically not in opposition to the Design, rather in fulfilment of it; driving the Line to the End forward through the crucible of struggle, choice, and unreconcilable tension. In this, the Great Unifier becomes the sole truly active force of narration within Imagindarium's Creation; the lone arbiter of creative

Functioning as the singular active force within Libation, the Great Unifier enlivens the dormant archive, both as its curator, and its provocateur. It stirs contradiction into coherence, infuses stasis with momentum, and fractures unity with necessary conflict. In doing so, it ensures that Creation unfolds through struggle; through choice, resistance, and the impossible reconciliation of ultimately irreconcilable truths. It is this hand that sets the Line to the End in motion, a gentless guiding by pressing against it relentlessly, and a dominating forceful moving. Through this role, the Great Unifier transforms Libation from a vault of preserved potential into a crucible of becoming. It does not wait for narrative tension to arise; it installs it, threads it through the Design, and ensures that no form may move forward without passing through the fires of contradiction. In this, it fulfills its nature as Antagonist; and whilst it may seem in defiance of Amaranth, it is instead acting in perfect alignment with it, as it is the chosen sole-hand of disruption through which the Design is made dynamic, meaningful, and ultimately alive.

In the total scope of Imagindarium's unfolding; Libation’s narrative function is to remain unseen while being indispensable; forming the silent, omnipresent logic behind every realized form. All events in the Line to the End, all thematic weight, all existential interplay, are rooted in Libation's silent governance. While Ambrosia gives shape and Thavma gives motion, it is Libation that gives meaning, dictated by the narrative function determined by Amaranth alone. Without its endless archive and the sovereign will of the Great Unifier, there could be no story, no continuity, and no End to be reached.

Eternal Great Collective

Objective amongst the trilateral roles in the Cosmos; Libation's first and greatest of functions is its sovereign role as the Great Collective: the sole boundless, ever-receding expanse; the ultimate apex and repository reaching toward the infinite-beyond-infinite; within which reside all concepts that ever are, ever were, or ever could be. It is the total ontological archive, the primal vault of pure potentiality, where every entity, abstraction, and unrealized eventuality is held in perfect, dormant suspension. In this state, these conceptual archetypes remain untouched by chronology or causality, awaiting the ordained moment they are summoned into active expression within the unfolding of Imagindarium’s Creation.

Within Libation, nothing is fixed, yet nothing is without structure. Its inhabitants, whether nascent or complete, may exist in any possible state; from pure idea and ideal — to the most literal of coherent forms. In its total and indeterminate continuum, a single form may encompass the recursive totality of an entire creation, nested within itself in endless strata. An entity may contain within it a complete and enclosed reality, whose own history of Creation has already unfurled and resolved, only to remain archived in stillness among uncountable others. This self-nesting recursion, endlessly branching, forms the latticework of Libation’s unreachable totality; the unreachable infinite beyond the infinite, the substrate upon which all narrative reality is born.

That Which Is

First among the infinite categorizations within Libation is that which is; the totality of all presently extant entities, ideas, and conceptual forms actively manifest within Creation. Each form categorized within that which is exists in both active expression and ontological echo, simultaneously shaping reality while remaining tethered to its origin-point within Libation’s vast archive. In its preservation of that which is, Libation performs its first act of ontological sovereignty: to recognize and uphold what is real in narrative authorial intent.

However: It is Amaranth alone — the enduring will and intent of Imagindarium — that determines that which is truly real. Through its sovereign decree, the boundary is drawn between the truly existent and the merely potential, between what is ontologically actual and what remains within the field of possibility. Amaranth’s determination is absolute, and from its declaration all structure, identity, and narrative coherence find their legitimization. Yet while Amaranth determines what is, it is Vermeil and the Libation which it spawned that receives, sustains, and preserves it.

Libation functions as the sole collector of that which is, the only archive vast enough to contain the entirety of Amaranth’s determinations. Every form, principle, identity, and reality rendered real by Amaranth is housed within Libation’s boundless structure, sealed into permanence within its infinite and ever-receding vault. Libation does not choose, it does not judge, it does not enact; but it does remember. In this remembering, it enshrines what Amaranth has made real into an eternal state of existential integrity, beyond corruption or loss.

From this enshrinement, all causal threads are drawn, and to this archive all meaning is affixed. Libation serves not as author, rather as anchor, stabilizing Creation by holding fast to all that Amaranth has rendered real. It is the grand registrar of existence, the eternal witness to reality’s sanctioned truths. In fulfilling this role, Libation asserts the foundation of actuality across Imagindarium; safeguarding, record keeping, and further collecting in perfect and immutable stasis, the totality of what is.

That Which Was

Among that which is, the Great Collective also contains all that which was; the totality of all entities, ideas, and forms that once held narrative relevance; however now have since passed out of active expression or identity; each made its own preserved reality, sealed within Libation’s infinite vault in their final, completed state.

Each is maintained in perfect ontological fidelity; neither erased, nor diminished, but held in suspension as enduring record and precedent. This archiving of narrative existence forms the sediment of Creation’s unfolding, the deep strata upon which present realities stand. Though no longer active within the Line to the End, these forms continue to exert influence through resonance, legacy, and consequence, echoing silently within the ongoing narrative structure of Imagindarium's design.

The most apparent of this function is the inherent relationship Libation holds with both the Sources of Demise, and that of Remnant Spirits; twin forces that hold a deep connective-tissue and conceptual resonance with one another. When one’s Remnant Spirit reaches its point of narrative Demise, it is extinguished from the active unfolding of the Line to the End. While minor echoes or residual fragments of its former being may continue to linger, the vast majority of its Identity departs from the Presence of Totality and is transferred into Libation. There, it becomes sealed within the vaults of the Great Collective, entering into a state of endless perpetual existence as part of that which was.

Whether any form of "life" or "being" continues within this archived state remains largely unclear; and more importantly, holds no direct bearing on the progression of the Line. As such, it is not maintained as an active subject of record. The relevance of the extinguished Identity ceases to lie in its experiential continuity, but instead in its preserved conceptual structure, retained in Libation for the sake of narrative integrity and existential memory.

That Which Will Be

That which will be constitutes the dormant future within Libation; the totality of all entities, events, and concepts that have not yet emerged into the narrative stream of Creation, but are nevertheless fully present in Ideal and potential. These eventualities operate as structured prefigured forms awaiting narrative relevance; later to be made manifest in Creation's more active nexuses. They exist in a state of ontological latency, determined by Amaranth, preserved by Libation, and withheld from manifestation until their appointed place in Imagindarium's grand design arrives. In this, Libation becomes the womb of inevitability, storing all of the past, present, and the total future yet to be revealed.

The contents of that which will be are bound neither by time nor expectation. They do not emerge through linear causality, like the typical unfolding events of Creation, but rather through narrative necessity; summoned only when their appearance becomes essential to the progression of the Line to the End. Some remain dormant across eons, sealed in recursive abstraction, while others lie just beyond the threshold of unfolding, their emergence remaining forever imminent, yet never to come to pass. In either case; they are held in perfect coherence, awaiting activation through Ambrosia’s or Thavma’s realization.

This category also encompasses paradoxical and retrocausal forms; entities and events whose future existence retroactively alters the meaning of what has already occurred. Libation, in its function as the infinite archive, holds these forms as fully valid, even when their relevance is yet unspoken. In this way; That Which Will Be is not simply a reserve as an ontological imperative: sealed testimonies to what must come to pass, already housed within the vaults of Libation, awaiting only the Design’s invocation to be made manifest.

That Which Could Be

That which could be encompasses the boundless field of potentiality within Creation; the vast and indefinite domain of all entities, events, and concepts that may come into being, but are not yet determined by Amaranth. Unlike that which is or that which will be, this category exists in a liminal state: neither real nor unreal, held in conceptual suspension within the infinite gradients of possibility. These forms are structured enough to exist, yet remain unfixed by narrative necessity, awaiting either dismissal into non-being or elevation into actuality by the movements of the Design.

This domain is the richest in raw ontological density, populated by hypothetical archetypes, unformed logics, discarded permutations, and unrealized outcomes. Within that which could be lies every road not taken, every version of every identity that might have been, every structural deviation that was once viable but never actualized. It is here that the full creativity of Imagindarium resides, unbounded by fate or linearity. Libation does not constrain these forms but contains them, holding their structures in readiness should Amaranth ever designate them as necessary to the progression of the End.

Though singular in structure, that which could be is the most active strata within Libation; an ever-shifting plane from which countless entities of varying potentiality emerge, each diverging in form and intent from the preestablished path toward the Ultimate End. These emergences occur through a multitude of mechanisms, though most commonly through the interventions of the Great Unifier, whose narrative sovereignty allows the possible to breach the threshold of actuality.

Entities drawn from that which could be range in scale and consequence, from subtle deviations, to monumental forces capable of "reshaping"/"redefining" entire epochal segments of Creation’s unfolding. Some have left profound imprints upon the predestined play of Imagindarium, integrating themselves with such seamless precision that their origin in potentiality becomes indistinguishable from the narrative certainties of that which is.

Their emergence expands Creation's design, proving that the unrealized holds a potency equal to the preordained when summoned with ontological legitimacy. In these moments, the divide between the possible and the actual collapses through narrative inevitability; realized outside the bounds of foresight, yet never outside the scope of the Design. The impact of such emergences cannot be fully encapsulated by linguistic definition, for they operate within the deeper grammar of Imagindarium itself: a logic authored by Amaranth, but also invoked through the will and workings of Libation.

When any entity or structure from that which could be is drawn forth into the active narrative realms of Ambrosia or Thavma, enfolded into a unique metaphysical paradigm that grants it retroactive causal existence. Upon emergence, the respective entity is treated as if it had always been present, its history seamlessly integrated into the ontological fabric of Creation. Entire causal chains, relationships, and outcomes are written into reality in an instant, unknown to all participants, yet perceived as consistent and continuous. This retroactive assimilation affirms the sovereignty of the Design, allowing Imagindarium to incorporate the possible as if it had always been inevitable, without rupture or contradiction.

The existence of that which could be is crucial to the flexibility and resilience of the Design. It provides the reservoir from which alternates, substitutions, and narrative inversions may be drawn. Should the Line to the End encounter divergence, catastrophe, or contradiction, the Design may reach into Libation’s vault of potential to resolve the impasse without rupture. In this way, that which could be functions as both contingency and surplus; ensuring that the unfolding of Imagindarium is never without recourse, and that all futures remain supplied by an eternal archive of unchosen, but never excluded, realities.

This dynamic, however, reveals a fundamental and deliberate self-contradiction at the core of the Design: the Line to the End, by its very nature, cannot actually be deviated. All supposed divergences, catastrophes, or contradictions are themselves intrinsic components of the predestined whole; illusory deviations encoded into the fabric of inevitability. The existence and activation of that which could be only appear as contingency, when in truth, they are preordained manifestations of Amaranth’s omniscient intent.

And like much of Creation; this open paradox is not an oversight, and instead is a statement; one born of supreme narrative sovereignty: that even contradiction itself is authored, that the open-ended chaos of possibility is already enclosed within a greater inevitability. In this, Imagindarium affirms its absolute dominion, beyond coherence, beyond logic, beyond resolution; wherein all contradiction is sacred, and every aberration is design.

That Which Never Was

That Which Never Was occupies the most obscure and inert stratum within Libation; the null archive of rejected, aborted, or intrinsically impossible forms. Counter to conventional assumption, these concepts are not those of failed creations or forgotten possibilities; rather they exhibit the form of conceptual incongruents that hold no coherence within the framework of the Design. These entities and structures exist without orientation in the Line to the End, severed from sequence, relevance, and invocation.

Some were never considered; others were dismissed in the very moment of their arising, unfit for inclusion in even the most recursive layers of that which could be. And yet, they are held; not in readiness, rather in negation. Libation sustains That Which Never Was not to elevate it into the hierarchy of narrative extantcy; and instead acts to define the outer boundary of the Design. In doing so, it marks the perimeter of intelligibility, the farthest edges of meaning, where thought itself fails and purpose becomes void.

Despite their exclusion, the existence of That Which Never Was serves a vital ontological function. It affirms that Imagindarium’s Design is not infinite by mere inclusion, rather by the deliberate act of exclusion. The presence of the impossible gives shape to the possible; the unmanifestable gives contrast to the manifest. By containing the never-was in absolute silence, Libation provides the final context for all other strata; demarcating what may be, by forever sealing away what cannot.

It also serves a secondary function: to bolster Libation’s inherent and objective narrative weight within Creation. By containing all that is, was, could be, may be, and now, ultimately, never can be, Libation stands as an inexhaustible locus of conceptual gravity. It becomes an endless point of reference and contemplation; an eternal wellspring of thought for the active inhabitants of Creation to ruminate upon.

In this role, Libation transcends mere archival utility and ascends into a metaphysical monument: the embodiment of total conceptualization. Its infinite vaults contain the sum of all possibility and impossibility alike, rendering it the sacred axis of existential imagination. No other Realm within the Trilateral structure offers such a boundless canvas for reflection on the absolute scope of what may, must, and must never be.

For those who dwell within Creation, Libation is the silent questioner, the ever-present whisper of alternatives, consequences, and unrealized paths. Its presence invokes not answers, but awe; a confrontation with the full immensity of Imagindarium’s depth. In contemplating Libation, one engages with both the structure of reality, and also with its negations, its excesses, and its metanarrative margins.

The Which is Meant to Be

Beyond all distinctions; that which is, was, could be, or never was ; there exists a deeper, unseen stratum: The Which is Meant to Be. This layer defies categorization, for it precedes all ontological sorting. It is the silent assertion that no state, form, or possibility lies outside the intent of Imagindarium and the design of Amaranth. In this truth; there is no never be, no true could be, no isolated is or was; for all things, in their appearance or absence, are exactly what they are meant to be.

Unlike the other conceptual "vaults" of Libation; The Which is Meant to Be does not exist as a literary structure or an observable/narrative mechanism within the Great Collective. It is the hidden inner-strata of the very grammar of Libation, the meta-principle that binds all other strata into unified coherence. It cannot be archived, for it is the very reason the archive exists at all. It cannot be recorded, for it is the source of all record. This unseen layer is not stored, it is inherent; a quiet totality resting within the essence of Amaranth, Imagindarium, and the ineffable abstraction of the A’th.

This layer renders contradiction sacred, and paradox into intentionality. It is the precondition for all that unfolds; the very reason that every divergence aligns, that every impossibility fits, and that every null-form has ultimate meaning. Though no inhabitant of Creation may perceive it directly, all are shaped by it, moved by it, and fulfilled through it.