|Emblem from Michael Maier's Atalanta fugiens (1617).|
Lorenz mentions the White Lady and the Black King in his notes, which are alchemical terms. The White Lady here represents the force of order (illumination and vegetation), while the Black King represents the force of decay (putrefaction). Lorenz had made a full alchemical realization of the Red Man, the joining of these two -- a two-headed hermaphrodite like the one pictured above. However, it was flawed and either was set loose or escaped.
Within the game, the company have picked up upon this as a method of causing magical effects. Individuals, it seems, can become avatars of sorts for these symbols. Hilda Stein was the force in London for the White Lady, while Charles Milverton became the Black King. Our magic is done by acting to match up these images into mythic sequences.
Thus, the company captured the Black King by enacting the myth of Aphrodite and Ares being caught as adulterers in a metal web by Hephaistus. Here we figured the Black King as Ares and the White Lady as Aphrodite, then arranged other figures to represent the other forces in the battle.
One line is our ostensible allies, who guided the Boat of a Million
Years out of Aegypt-London. The pilot identified himself by the sigil
on his ring, and said that we would find allies wherever we find this
sign. Hawksquill has identified the sigil on the ring as the Monas
Hieroglyphica (Hieroglyphic Monad) of John Dee. Following this
realization, she also has noted that the old man on the boat looked an
awful lot like John Dee. The short Italian man bearing the Monad
could conceivably be Giordano Bruno, although it is hard to identify a
man who is severely burn-scarred. Of course, Bruno was burned at the
stake in 1600....
About John DeeFor more information on alchemy, see the:
The Alchemy Virtual LibraryFor information of a published Blake Tarot (not the same as the cards being discovered in the game), see:
William Blake Tarot of the Creative Imagination