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Prometheus : The Furious Gods.

Prometheus : The Furious Gods.

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Michelle Johnston

Jul-11-2020 5:13 PM

With my domain name requiring renewal it seemed timely to revisit my story and for three reasons:-

1) To continue to provide access for anyone who wished to read the two part book.

2) To revisit the text and consider improvements given I have subsequently gained more writing experience.

3) As the story is "All about everything." whether the Film (and book) had anything to say about the Pandemic. On rereading it I concluded that the central driver of Part 1 Sir Peter Weylands desire to seek more life and find there was nothing (for him) is a metaphor for keeping many of an entire generation alive at a huge cost to all involved most especially themselves and then finding a Virus comes along and wipes large numbers of them out. Although Fifield is absent from the narrative of the Book they to abound.                                  

I trust all the contributors to the Forum remain well and I offer my apologies for in the past being dismissive of those  who come to this fractured franchise from a different place to me. In reality I am in the minority. But I am pleased to have discovered a number of Genre Defying Works in recent months which operate in the same way as the type of books I wish to write more of.        

1 Responses to Prometheus : The Furious Gods.

Michelle Johnston

Jul-30-2020 9:48 PM

Many many thanks for those who diverted to the link. It is always exciting to see people from all over the world connect. China and the United States always come up but Malaysia and Mexico are new. 

One of the consequences of writing the book has been to look at material associated with the broader Promethean Tradition and see how close the movie was to that tradition. 

Since 2018 I have read the 1818 Text of Dr Frankenstein, considered various thesis written and looked hard at the Documentary. Two scenes come back to me time and again as being key.

1) The Holographic speech of Peter Weyland.

2) The four-way interaction between Elizabeth, the Dark Angel and then Weyland and David's intervention.

Why are we here, what is soul, the attempt to deny death, why did you make me and then want to destroy me. What have I done wrong? 

The difference between The Modern Prometheus and Movie Prometheus is David and he enables us to enlarge the question and consider comparatively what is existence and its subtext (do androids dream). 

This is the point at which to formally identify another concept of my work. Bardo or Intermediation. In Tibetan philosophy it is the state beyond life and before the next life.

From the very beginning, even when the story was quite different, two characters were in the Bardo, in the intermediation. But there is a broader way to look at it.

My work is split into two at the point that the Prometheus slams into the Juggernaut destined for the earth we leave Elizabeth considering the meaning of the two craft and their occupants. We begin Part 2 when she realises she has survived or has she? Different readers have suggested at different points she has 'died'. All are valid viewpoints. But they depend on your view of life, death and the soul. My work is proposing that those are not the gatekeepers to the truth and once you consider the distinctions of the imagined world then the answers to those questions are irrelevant.   

An even broader interpretation is if you take the matter of the Waterfall Incident and then consider the final visual in Ridley's Scott's short Hennessay advert (The Gathering In) you could consider everything is in the Bardo. The Lone Figure dies and all that he is passes with death into Intermediation until the story ends, until the soul comes back to us.

We live in a world where people live and they die. This is a world where people live as a consequence of someone 'dying.' 

The smaller question is would Bardo be relevant to a Movie which would have ended with David and Elizabeth reaching Paradise. Given that the subject was raised recently by Damon Lindelof to explain one of his other works it might have been.

I do believe though once Damon Lindelof saw how his attempt to fashion a separate story away from ALIEN was becoming anchored in a purely Alien conversation (Badass robots, nastier monsters, make Shaw vigilante) that such matters were to excuse the pun 'dead' from the moment he moved on. 

Thanks again for everyone's interest and in particular those who have fed me related matters. During Lockdown in New Zealand, I wrote a second book connected to the Star Trek Enterprise Series.

My next work will be entirely my own but I have enjoyed the apprenticeship and found myself going back to the text of Furious Gods this last month and once again finding more of the story.   

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