Amorella here hovering in the shade of the bottom left. Richard has been dressing the five characters for his head so he found some head shots of actors and actresses of the 1960’s. I okayed them. Though he could have used others just as well these five send good mental currents and give the book some of his flavor as well it should. Here’s who he came up with. I added the material from sources orndorff gathered from their films in his mind. At least, as of now, the iconic characters have bones. They shall be named later.
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Richard Burton is an iconic figure for the fifth character who calculates the advantage [in the war] of the moment. He is concerned for his personal honor as well as his responsibility as a drafted leader of the Dead. He has a bitter relationship with the woman in charge of his command. He does trust her outwardly, but his gut tells him she is using him to make herself look better among the Dead. He does not like the fact that she is more analytical than he is. He wonders who is behind the Supervisor, who is pulling his strings. He has no imagination like the women as to what the Supervisor is, Burton assumes the Supervisor is Hades who works directly with Zeus. He just does not understand the motivation for the seeming deception between the two.
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Elizabeth Taylor is iconic figure Number Four as the diplomat currier and behind the scenes confident of Number One. The two women think that they are better at dealing one on one with the Supervisor of the Place of the Dead because they see Supervisor as being female in gender like themselves. In the battle they interpret the Supervisor foremost as a Betweener, as a Queen in a King’s clothing, as Hera not Hades, her brother or Zeus her husband. She thinks Zeus would not have the inclination or take the time to deal with the insurrection of the Dead. Besides, she, Hera, was raped by her brother Zeus, and as goddess of marriage she married him anyway. Hera is resentful and will side with us against Hades, Zeus or Whomever when the time comes to do so.
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Peter O’Toole is Number Three, the iconic male figure most trusted by Number One. He is quick-minded, intelligent, and gifted with leaps in logic. He is prophet-like in anticipating the Supervisor’s next move, but with this gift he dances close to madness, a terror in his mind as he assumes he and perhaps all the human dead will fall into Oblivion should madness prevail in the Place of the Dead which is built within Reason’s Walls. In the blink of an eye he secretly falls in love with Number Four. He thinks it is a trick of the Supervisor who has somehow got into his mind. He is secretly concerned he is the Supervisor’s mole and that he will be the downfall of the Rebellion.
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Sean Connery works as icon Number Two. He is as charismatic as Number Three and a master of reason and gallows humor. He feels there is always irony as a shadow whenever Supervisor makes a move. That as deceptive as the Supervisor might be when it comes to battle, he, as Hades, stands not alone, that he has secret partners as always, two in this case, Thanatos (Death) and his twin brother, Hypnos (Sleep). Even Charon, the Ferryman of the Dead, might be involved. He thinks there is more to this Insurrection than meets the eye, that the Place of the Dead is not as timeless as it first appears.
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Sophia Loren is icon Number One, the Leader. She prides herself among the Dead as looking most like Mother, the original mother of all humans who are Living as well as in the Place of the Dead. Mother is as the North Star. Without her none would be in this Place to begin with.
Motherhood is a spiritual quality and an essential in winning this battle with the Supervisor who has continued to deny them the right to see their many steps of grandchildren and to tell them how it is to be Dead even if they, the Dead, don’t know why they continue to exist as consciousness with three dimensions of believable bodies even though the Dead ‘know’ they no longer have them.
She thinks that even Zeus may not be responsible for their situation, and if nothing else, the Insurrection will provoke a reaction that will allow her and the others to know more about why they are in this Place, and why the Living must go through life as they do.
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I am readily grateful for Amorella’s help here. It is in my writing nature to create models so that I might better ‘see’ who I am working with. I will have to move into their minds to understand their past situations as well as their present ones. Once they become ‘real’ in my head I will grant them the free will to change, where possible, Amorella’s story to their bent, just like in real life. They have each find their own way to ‘survive’ their situation with both reason and dignity no matter what the outcome with their confrontation with Supervisor, and they have to do it on their terms. – rho
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