Yup, we get to part three, it is not merely about the tory, which in personal view is pretty nice. It important to set a dynamic into place. We looked at the mortal one, we saw a little from the divine point of view, yet there is a third view, The opponents view. There is one side that is the strongest and it is ready to oppose both sides, but to do it well we need three parties.
To show this lets take a look at two images. In the first image we see three circles. The interactions are the points where the circles connect, the environments are the thee areas where the interactions take place. Now this is not always a given, but for the breakthrough moments, when you do this, you are in an easy state to set the stage to seven locations and six points where the main characters interact. This setting is not a given, but it is a start, the better situation is with 4 circles, where we see 4 main parties, we get 10 interactions and 14 locations, yet that is for the masters, not for mere wannabe’s like you and me. So when we have set the stage of interactions we get set an initial stage towards a script. When this is done we can start considering the creation of a playbook.
So what gives?
Well, when we create a setting where we need to chose whether to take the side of the divine or the mortals, the seek into self is powerful, the desire to be divine equally so, as such we need a third party, the opposing gods are one way to go, it also leaves us being the toil to the gods, just like any good greek tragedy is, and as Herodotus teaches us, Egyptian plays are no less. It gives us the power of the power players Hades and Anubis, yet in that light we get the questions that surrounds Baron Samedi and to a small degree his consort Maman Brigitte as well. This gets us to the opposition.
If we consider that Hel, Ereshkigal and Mot. We need to consider the history we do know, the history we suspect (through known literature) and there is a decent part of speculation, which is left to us because thousands of scrolls in the Library of Alexandria never made it past the fire. Yes, that does not prove anything, but the words of the old writers goes further than what we know and even now their insight astounds us, so we have a place to start. Nordic myths and stories gives us a lot about Hel, but it does not give us all and there is a second consideration. This comes to the surface when we consider Codex Wormianu (1400, Denmark) and Codex Trajectinus (1600, Netherlands). There is every. Chance that these papers had been overly Christianised, and that is a problem, but it is also a handle of resetting what is Hel and where it is, she becomes a much larger side to the story, the same could be said for Mot, yet there is a lot less on that front, giving us points to work with, but also a lot of freedom, so we need to see where the interactions in the old writings of these gods were. You see, no matter how we slice it, in the old writings we learn of written yet unspoken desires. When we consider that, the writings of some, that the gods were petty and power driven does not add up, but it becomes a different matter when the souls of the people become the currency, when devotion is the foundation of their power, it makes sense and then we see that the deities of death have an advantage, because when we die, secular or not, most suddenly become faithful, but faith through fear does not work, it never does. As such the consolidation of souls become a different view and that puts Baron Samedi in the middle of a lot and from his point of view, from a Haitian power base to global foundation is one hell of a leap and that shows us the three and the need for Hel and Mot to oppose it. In this Ereshkigal is a mere vessel, but a powerful one, almost forgotten, the perfect messenger between several parties and one with the overall strategic view, all players in a game where 7.8 billion souls is a powerful battery to bring back the gods, but not all will make it back, that is where the battle of opposing forces lay for the longer station.
So whilst we consider the parts of these three groups, we need to consider what we would do if we introduce a fourth group, or more precisely, how we can shift balance over the three parties when a fourth party (optionally part of one of the two) pushes the balance in all kinds of directions. The viewer needs to be mesmerised, yes it is appealing to be the person on the axe of the seesaw, but that is too controlled, so like the image, the purple circle, a combination of red and blue now gives us two points to push the mortal coil and also push the other two parties, yet what is the real push and what is the feigned push, that becomes the question if the viewer has that approach, if not (which would be fair), is a much larger stage in creating a rollercoaster ride and that is where the story goes off (optionally the deep end). So when we look at these elements we see the third party deflating one and inflating the other to create a stage the viewer is wondering about and that entices them to watch more. So whilst we consider where the opposing group goes next, it will enable us to see the ‘altered’ view of both, so when the two players are exposed we wonder do we see what we want to see, or what we are allowed to see? And that is quite the ballgame. And this approach is not merely for specified projects, this setting works well on storylines for RPG games as well. Consider some of the RPG games you played, do you recognise the approach to some degree? It does not matter if you do not, but it still gives rise to the one part I always proclaimed ‘The story is everything’.
Have a great Monday!