Chapter 1: Kosmos introduces Astrian the priest and minimally, The Moon King. Mostly, it’s about the City. Important place. I envisioned cities that could’ve stood in the Garden of Eden. There’s a lot of biblical language. Throughout Book One, I deliberately allude to the Books of Genesis, Enoch, and Solomon, as well as to the New Testament, to Greek mythology, Norse, and Celtic—all of which include scenarios similar to the controversial scenario in Chapter 2.
So onto Chapter 2: Promise.
Yes, I believe it requires a disclaimer because disclaimers reduce hard feelings and complaints. They let you know what you’re in for, and whether or not you might like to bail out. This novel is absolutely not Lolita--although I don't believe that novel to be a celebration of sexual indecency either. If my story is interpreted that way then it is misinterpreted.
2 was a difficult chapter to write (and narrate), mainly as I knew what had to happen. I had to play both the wolf and the lamb, and I had to make the analyticals ponder, which is which? Characters can and must be confused, contemptible, haunted or tainted by their past. Especially if they’re insanely beautiful and all-powerful.
It’s not my intention to define or analyze my characters’ motives, because that adds dimensions that I deliberately excluded from the book! One option for the audience is to postpone giving the entire body of work the finality of a generalization. “Oh, it’s about this.” No, no. Read on, and you’ll find it’s about that, too.
When you can only see the corner edge of an elaborate painting, it’s impossible to guess what the rest will look like. That said, if this chapter disturbs you, confuses, challenges, repulses—be patient that I will reveal the entire painting, and that there is a reason for every event and character interaction which contributes to the complete panorama.
It’s also pertinent to elaborate that no matter a character’s damage or wickedness, because I made them, I will adore them all the same. Characters can absolutely become your babies. You honor their traits, develop a sixth sense for what they will do, and are sometimes saddened by the route they do or don’t take.
I’ve tried to make the villains of The Godward Sea impossible to entirely despise, and entirely possible to empathize with; antiheroes, possibly? Characters with indefinite motives and endings with ambiguous resolutions allow an audience to theorize and rumorize and exercise and scrutinize. In this way, the story can resonate, maybe become a topic of discussion; even better, debate. That’s what I’ve tried to incorporate here: a godly character, beautiful and intellectual and tender-hearted, scarred by emotional and psychological wounds, making his wicked decisions thus. Of course, the ‘good’ heroes have their wounds as well, and then there are the damsels stuck between. But again, rather than me analyze them and enforce my opinions, I would have the truth be more personal and flexible. It will, hopefully, change based on individual perspective.
(As an aside, I’m a little more experienced with Windows Live Movie Maker now, which is both good and bad because the movie for Chapter 1 isn’t as graceful as the one for Chapter 2! Once my goal is a little closer in sight, I’ll return to Chapter 1 and apply what I’ve learned.)
Audio/Visual Novel: The Godward Sea, Book 1, Ch 2 Promise, by TMA from Tanisha Mykia on Vimeo.
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