Author's Afterword

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'The things and events to which the symbols refer belong to mutually exclusive realms of experience... But for those who theoretically believe what in practice they know to be true—namely, that there is an inside to experience as well as an outside—the problems posed are real problems, all the more grave for being, some completely insoluble, some soluble only in exceptional circumstances and by methods not available to everyone.'

from Aldous Huxley's The Doors of Perception.

My father used to play the Nat King Cole 'Nature Boy' version when I was a child. It's appropriate for this story.

To those that did not see what the story could be about:

I either failed with my subtle clues, or the reader failed to further analyse the story.

One reviewer had written that this 'almost feels like a SciFi version of Narnia, with a few details changed'. It's not insulting to be compared to a great work of literature and it was very much his own opinion—based on his own personal reading experience, therefore, what he could associate it to. Indeed I did not see any reason to correct him on his Narnia statement, although entirely incorrect, because everyone is entitled to their opinion and what ever means they choose to utilise in order to better understand a story. It did turn my two months of detailed preparations and separate research into rubble—unfortunately—but such a thing is bound to happen. I did correct him on the Science Fiction statement, as it was based on a lack of understanding the difference between Science Fiction and Science Fantasy.

This book is neither Science Fiction, nor is it Fantasy, nor 'either or'. It is entirely Science Fantasy and carries that genre tag no matter how many scientific explanations and possibilities I would add to it. I jokingly explained this to him, but I failed to give an example better suited for someone that did not fully know and gave an explanation best for someone that did know. For that or anyone else that might have difficulties, I will offer the explanation I gave him and the best reasons to why this is the case.

Science Fiction is 'making the implausible possible'. It is limited and ruled by scientific theories rooted within our own reality. By that last sentence, it's only logical that Science Fiction [and an author that understands this well] is entirely governed by certain physical laws which it cannot break—lest it be more appropriately tagged Science Fantasy. Whilst Science Fantasy can combine said laws within the story, to create a sense of realism within the fantastical, it will include very obvious impossibilities. There was quite a lot of artistic licence with General Relativity in this story.

Now for the best and easiest example to understand this:

Whilst a seemingly peculiar, yet rather normal door can help bridge a gap between physical spaces and you can transverse one to enter a different room, it cannot, under any circumstance—in any reality—appear spontaneously to teleport you to a different planet where polymorphic beings wield technologically advanced weaponry. If you sincerely believe that a door can truly spontaneously manifest itself and do this, may I suggest a proper psychiatrist to help with said delusion?

The door is a metaphor and an archetype [a symbol]. Escapism with symbolic meaning such as this is the link between this story, Narnia and countless others that came before them.

The only story that truly relates to it in several scenes is Alice in Wonderland; I even called it a part Science Fantasy version of it when I was writing it. If you failed to see several small segments where it's been changed, then I did my job well in reproducing and twisting those specific scenes.

They could be found in Syrqnä versus the alien queen; the scene where he jumps into the tunnel; the doors of his subconscious mind when in the underground system early on; the trickster moments from Syrqnä early on [as well as when SHE leads him into the underground system in the first chapter. These are the moments where she's Loki or The White Rabbit]. It also uses the concept from Aldous Huxley's The Doors of Perception, hence, the door.

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