Chapter Thirty One: The Creative Capacity

Some would suppose that all of the recorded mystery is solely due to a neurological function. Others would argue that it is the magical capacity of the internal consciousness to dream beyond and above the known limits of the life sciences that is responsible for it. Whatever the electrical impulses would later on say about its origins, only time would tell us why this type of creative capacity works for some Literarians, but is completely absent from other members of the Literary Committee.

However, those that do have it (the Illustrators) themselves are full of inherent conundrum, in as much as their creative capacity does not answer to a universal law that explains quite conclusively on the process of its consistent application. Within the ranks of the Literarians, there was a terrible secret that they are trying to hide about the Illustrators that the Scientific community must not know about. This concealed information will say a lot about the murders that are now indiscriminately taking place within the See of Dunster.

As magic quickly diminished to give way for the development of the creative capacity, illusion becomes the active ingredient from which the act of illustration becomes the focul point of the bearing for the future retribution, although revenge at this point may be futile to be completely successful. Patience to this cause, at this point, is a virtue.

It was said that the creative faculty bearing the remnants of the magical capacity leaves within itself the infection of a certain disease, a strange mutation of the neurons and the magical particles that results to a defect in the employment of correct thinking within those who have survived from the annihilation of such noble status of their full magical realization.

Whether it was about revenge or the biological anomaly resulting to a certain consequence of the status of their nature, the Illustrators had become very unpredictable when their behavior is studied, in so far as the sustainable cohabitation had been established to be favorable within the See of Colors and its corresponding ecosystem. 

One thing remains to be true in all of these exposition. The Illustrators must be tamed so that their dangerous nature must be suppressed by the use of alchemic properties which blocks the natural impulses that results to the metabolic union of the Illustrator to the illusion perceived thoroughly within their cohabited minds. The predicament is very similar to the troubles of the Werewolves, and, incidentally, metaphysically speaking, the Illustrators and the Werewolves are one and the same in substance.

It was a fate of the Illustrators that they could not endure anymore. So much injustice had been done to their race, commencing from their natural dwelling place and into the future full of suffering and regret as they were all forced to live a way that is not endemic to their own sacred nature.

But the most ugly form of cruelty inflicted upon themselves was their involuntary association to the Occult; the power of darkness have descended upon them, and it was both eerie and horrifying as one innocent substance changes to another. From magic they have become known to be wizards, away from their inherent nature as the good-natured magicians. Their lands have been seized from them, and they were driven out of their homes.

The See of Colors serves as a sanctuary for a while while some of their kind became completely demented; proudly, he is one of those Illustrators, and he is a murderer.

All of them must die. There is no further delay.

The person who left is not always the same person who comes back. And they will learn this lesson the hard way.

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The Chapter is sponsored by SHEIN.