Okay, it's Monday March 4th. So, commuting in the morning just got on the Richmond Bridge and I'm gonna capture some ideas I have about the creation story. So it hit me in the shower and I want to get some more context about the idea. But basically the idea came to me as struggling with just the idea of creation. And creation is simply that. It's something from nothing. But more importantly, it's more about the appearance of something from nothing, not so much about it actually being true because I don't think you can measure that. I'm testing to see if my voice is being recorded.

Okay, so what is something from nothing? Well, you know, we can talk about the big bang and again it's about optics. We can only see the bang. We can't see what caused the bang and we can theorize about it. But again, it's something from nothing. If we talk about Genesis, you know, in the Bible, it's simply God created the earth. You know, He created the sun and the moon and everything. He just did it. So I don't want to get caught up on the science versus religion or just the techniques or the technical aspects of creation. I simply want to present a story that revolves around the concept of creation which is based on simply something from nothing. And so the idea hit me that how do you incorporate this into illustration? And I was like, it's like an inkblot. And how did I get the concept of the ink and the inkblot? And well, I have to talk about them. Go back further in the night. So I was had a gummy and at 10 pm at my usual time. And you know, then when I was needed to go to bed, I decided I'd just do a little, what do you call it? Free drawing. Just to see what my hands and my, you know, where my head was leading my hand, you know, subconscious, all that stuff. So my, you know, the first thing I think I was trying to draw was I want to say just, I started with squeakly lines, but I think I was going for a wave pattern of some sort. And then, I, it kind of looked as if you made a number sign out of strings and

Oh man, rudely interrupted by a call. Anyway, as I got off the bridge I was talking about how I was, you know, playing around with like, you know, curbing lines and parallel curbing lines, just to see, you know, how I could. In some ways I was thinking if I will the same curve, can I recreate the same curve as my, can I memorize that stroke and get it, redo it over and over. And then I started to intersect the curves and that's when it started to look as if I was drawing a pound sign or a number sign out of string and tossing it into waves. So it looked like a very fluid floating kind of wind blown number sign or simply, you know, a pair of parallel S curves going in one direction and then another pair going at a 90 degree angle to that same pair intersecting. I have a drawing of it in my notes and then it morphed again. I was like, oh well, I like this pattern that the line, that the two line, the intersecting lines were making. And it started to look like a, you know, a magic carpet kind of if I could picture it. You know, it looked like a carpet flying in the air in some ways or or resting on some stairs. But then I wanted to figure out is there a way where I can make the same, you know, pattern or not a pattern, but can I, can I recreate this in only two strokes? Because it took me four strokes and I wanted to know if I could do it in two strokes. So I decided to try again. And so this time I would start with the, you know, one, one, basically one stroke for a pair of the intersecting lines and another stroke for a pair of the intersecting lines. And it started to come out really cool. Like, I could actually make the same drawing, but with two strokes. And I really liked it. I didn't know why I liked it, but I did. And all I was doing was letting my hand, you know, I don't even know if my brain had a thought. If it did, I don't really know what the thought was. But it was, you know, not a straight line. That was the only perhaps thought, oh, a curve, a nice curve. Oh, wow. Okay. Let's do it. Let's do it again. You know, recreating. I liked it so much I wanted to recreate it. And I think that was perhaps, you know, that can be another aspect to this concept of creation. Something from nothing, that's something there is pride in it. And therefore we must reproduce it a second time, or third time, or fourth time. And that is creation. It's really not about, I mean, you cannot simply talk about, you know, creation as if you know how to make something from nothing. You do not know how to do it. It simply happens. And so, you know, when I, when I finished this, I went to bed. And I woke up the next morning. I guess my phone was still open to my note app, my notes app. And and I saw the, the drawing. And I thought about it some more. And on the shower, you know, I thought of the concept. It felt very similar to the ink, ink plot. And maybe free drawing is like ink plot. I mean, psychiatrists, you know, do benefit from, you know, encouraging their patients to perhaps draw and make illustrations. And to talk about what that means to them. And so, as, you know, in some ways a better way than the, you know, the roar shock, I think that's how you say it or the ink plot test. But the ink plot, you know, was really stuck in my head. And because one, it's that stain that I keep talking about the this, you know, and this, and our stain is a bad word, but well, stain has a negative connotation. It's, it's more of the, the, the die effect that, you know, we see ink has on paper. And that is really, that is a, you know, a third aspect of this, you know, once it starts, it cannot be stopped. And that's, that's the creative process. The, and I don't mean, you know, how to stop the creative process. But um, once you have an idea, it comes out, you don't ignore it. If you're a creative, a creation seeking person, right? And so the idea is like a stain. It hits you and you can't let go of it. And so that is, you know, how do I, how do I integrate this with the story? Well, there, you know, the Florence, aside, you know, from the actual manner or way in which she acquires the letter and reads it, um, is, is, is, is jolted out of her, you know, kind of existence, her, her sense of existence. And then she doesn't know it yet, but the creative process will have started. Uh, you know, it, it starts the same way that, you know, you see a shape in the clouds. You can't unsee it. Um, it starts the same way. Um, when you, you draw or you paint with a brush, you can't remove the stroke. It made itself happen. So it's there now. How do we deal with it? We either like it or we don't. Um, and so Florence, and I, I'm, I'm leaning towards this idea that, um, she's either crossing the road at the post office and a truck runs into the post office and knocks all the letters and the, all the, the mail goes flying. They pick up most of it, but the one letter, it, you know, uh, he is hers or the, uh, idea that she keeps getting this delivered to her. But, um, she keeps, you know, putting it back in the, the mailbox and it's, it doesn't get accepted. So she tries to take it to the post office. It keeps getting delivered back to her. Um, and then ultimately, I think, uh, on her last trip to the post office, that is when the, uh, perhaps she witnesses the accident. And, uh, I'm still, no, if I want to include the old woman and either, if she's a distraction, uh, that helps her, the, you know, the impending, uh, kind of jolt the jarring moment that, uh, I want to kind of, uh, sub, you know, this jarring moment that is really the, the creative process starting in her. So whether it's witnessing the, uh, truck, and perhaps maybe the old woman pushes her out of the way and she falls to the ground. But, um, maybe she witnesses the old woman die. I don't know. Um, it's, it's, uh, it's a tough one. So, um, or maybe she pushes the old woman out of the way and falls down the same time. Yeah. And that is the, um, kind of the euphemistic, uh, memory that she holds because she doesn't want to remember the real memory. I think I like that. Um, yeah. So I think the old woman who's there every morning decides this one morning, she's going to stand out in the middle of the street. And she knows about, you know, she knows about Ernie's truck. Ernie's got this one truck that, you know, you can hear throughout the entire town. And she could hear it coming. And of course, Ernie's always, he never pays attention to the road. Um, and it was, it was looking really bad that morning. And Florence just something hit her, something came over her and she decided to run into the middle of the street and, and push the old woman out of the way. Of course, then Ernie swerves, uh, at the last minute missing them, you know, I don't know. But, um, yeah. So, yeah, because I mean, she's going to the post office. And every time she goes, she sees the old lady. And she's, she's sitting patiently. And maybe the old woman speaks to her in Spanish. Maybe she mutters something that Florence can recognize, but she doesn't really know what it means. Like they don't know anything in there. Or, um, you know, yeah. So, or maybe she's always saying, do you know where my son is? You know, I'm looking for my son. Have you ever seen my son? And stuff like that. So, um, um, but, uh, yeah. So, I, I think now I have to figure out at least, I think the first creation story will be, um, an illustration that emerges out of an ink block. Definitely. That's, that's, that's really how it has to be. Now I have to kind of study what are some kind of really cool ways in which we can do that in a two-dimensional way. Um, but yeah, that's, that's at least everything that's in my head right now about the creation story.

So now I want to talk about Florence and Simeen. Florence, let's just forget about how she actually reads the letter or acquires the letter or decides to keep the letter. But instead, what are the contents of the letter? What is the letter actually saying? The letter is from Selene. And he told me, let me just make sure that my voice is being recorded.

Okay, recording is going well. So a couple things about the letter. I want to essentially, I mean the first thought of receiving or reading the letter was, it was a bit like Alice in Wonderland when she follows the white rabbit. And I know it's already been done in the matrix and everything like that. And you know that implies that there's been taking of drugs. But let's figure out the dynamics of this. You know, the white rabbit is a lure. But it's a lure into your subconscious and the story is the door to the story. But you know the relationship with the white rabbit isn't a foreshadowing. I mean, Selim will be the one to eventually goes to. So is the rabbit? Is the association with Alice in Wonderland the right association? Maybe, I don't know. We'll try it out. And Selim, if Florence is her codename but her real name, I will still go ahead to that. No. Alicia, Alathea is her real name. And Florence is her pending. Now, perhaps there is another way. Or, as opposed to Selim's, her name could be Harry White. And if you want to dive deeper into the deconstruction of that, and name it, you can see it. You know, Harry is like a hair, a rabbit, white rabbit. It's possible we could try that. Harry White. Let's see if it's ever been used before. Or perhaps he could have... You could have a last name that is Harry Blanco. Harry Alben is something I think it's another white reference. But yeah, anyway. There is no return of dress on the envelope. So, you know, she doesn't know where to send it. So, but what's inside the envelope? That's the thing. What does the letter actually say? Maybe it's nothing. Maybe she doesn't understand it at all. Yeah, you know, it's like when we talk about how a prophet, or, you know, receives the message for the first time. It doesn't understand it has to process it over and over and over again. Or perhaps... Yeah, man, I was just thinking about it. Oh. It, you know, it, it, it, it, she literally has to, you know, the letter clearly has some subtext. So, but what is it? It's perhaps probably, you know, saying... You know, there's a... Hold on. Hold on.

Maybe the letter is simply like a reading of a minute of some meeting. Or maybe there are different types of letters. I think I was going to, this is the opposite of a ventilation. This is a secret society and their letters that have a secret format as well. The letter would simply say, so the 30 second annual meeting of the, you know, blah blah blah society or whatever met last weekend, you know, a reading of the minutes essentially boring stuff or it could be. So this is just to update you on events or things or changes that have developed up to change. And up to change would mean that the excuse me, the change. So a bit about the chain of the chain refers to the letter chain of the chain letters. And so maybe the letter has different handwriting as clear that it had different handwriting. And so it's a chain letter, that's it. And she sees handwriting, so I recognize people and they just save space. And they can use the language, so that everyone knows what they're saying. And it's a great opportunity to use like today's, you know, internet kind of memes, not memes, but like practices with FYI, you know, or AFIK, like kind of stuff. So, yeah, those are, those are other things. What else does she do? So, you know, and they're different. Yeah. I'll be cool, because in the same pan from she realized later, there's something strange about every paragraph. Yeah, we changed the entire thing. And those were the rules. That would be really cool too. So, um...

What does she... how does she process all this? She does need an address to write to you. You can't simply have no return of course. So where does the letter come from? Is it an airmail letter? Does it have an address overseas? And if so where does she get the money? Well it's just that she's got a mail-it. Does she tell her parents? Maybe I don't know. Her parents interested. Well if she joins her pen-tile society record, she will. That would be really cool. She joins the pen-tile society. But then it doesn't really do anything. It's a pen-pal say in Canada, the D-safe. And it just says nothing. Or maybe she gets a pen-pal and ingot. But uh... Yeah. So she writes up to the pen-pal society. And uh... And then claims she's gonna send her the letters. Somewhere else. Or maybe she... Maybe she fakes the response of the... Oh yeah. Maybe she never shows her family. She keeps that a secret from her family and actually says she needs to send the letter here. So they... Yeah. They paired her up with someone from England. And she's just gonna write letters for what she's really doing is responding to this letter that she erroneously received. Only to find out who the real Florence is and how to get this letter to her. And this is the first chapter. Perhaps it ends with her either sending the letter off and receiving her response. Or... Yeah. It goes from receiving letter trying to return letter, witnessing accident holding on to letter. And then responding to... Responding to letter. Wait, need money for return address. Maybe she can sneak by with her allowance. Yeah. But then she realized she's gonna need more money. So that's when she takes the... Actually, yeah, she has to figure that out beforehand. So she... Yeah. Applies to the Pimp Power program. It's Pimp Power. Then uses the money to better parents give her naturally. She says she'll do chores. It's just to be able to have a job. But to do extra working. She has to. And this is only when she realizes that maybe this is worse for what? Worse for essence. So, yeah. Receives response from Pimp Power Society. She gets an address in England. Either makes a copy of the letter with the other address. In case your parents ever wonder. Or simply hides it. I think it's better to hide it because her parents have to find it. She hides it and actually sends. And she. The return address on that. Pimp Power on the air mail envelope. And. She responds to the chain letter. And that's the end of chapter one. And. And. And. And. And. And.