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Alejandro Jodorowsky’s Keisaku
Alejandro Jodorowsky’s Keisaku

Origin

Alejandro Jodorowsky

Type

Wooden Stick

Effects

Surrealistic Vision Construction

Downsides

Removes all forms of control

Activation

Ownership while experiencing concentration or confusion

Section

Out and About List

[Source]


OriginEdit

Known for his cult status films, Alejandro Jodorowsky incorporates a large involvement of religious themes, stylized violence and mysticism bordering on psychedelia to create his surreal works. Unsatisfied with his life in Chile, Jodorowsky picked up poetry, circus performance and comic writing before moving to Paris. Upon discovery of film, he again moved to Mexico City and released his first, Fando y Lis. Most audiences hated its indecencies so much it was banned in Mexico; Jodorosky shrugged it off with his absurdist viewpoint. While there he befriended Zen Buddhist monk Ejo Takata and became his pupil, learning through the moral conflict of traditional kōan texts. After teaching, Takata told him he required more acquaintance with his feminine side.

His second film El Topo went relatively unnoticed until Beatles member John Lennon happened to catch a premiere, calling it a masterstroke. He convinced his president Allen Klein to help distribute it and any future films in the US. However, Klein wanted Jodorowsky to produce an adaptation for Story of O, which employed female masochism and submission. By the time of his third film The Holy Mountain, Jodorowsky had connected with feminism more and refused to comply, avoiding work. In response, Klein withheld the distribution rights and made the films unavailable in the United States.

Although defeated, Jodorowsky still gave lectures about filmmaking and several kōans. His dear friend Takata attended one and decided all had been learned, giving Jodorowsky his keisaku, a wooden stick to relieve meditation drowsiness, as a gift and sign of mastery.

EffectsEdit

Using while in concentration or delirium will introduce surreal visions. Although still confining to most laws of logic, people and objects will appear to distort or behave counter to regular matter. Eventually they become more realistic, allowing others to witness and interact with the strange, sometimes dangerous constructs. The user themselves will be unable to interact with anything of their own design for random intervals of time. They will have absolutely no legal, psychological or tangible control until another fixation replaces it.

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