A Pygmalion resides in both of them.

They are, to an extent, sculptors.

Regardless of victimhood or guilt, both are victims of the ideals and ideas they are in love with, and in their pursuit – a Godly transcendence or the deity of modernism and capitalism – they construct myths, guards, weaponry, and languages to match.

These are the ornaments of power with which they adorn their Galateas.

Each has two heads, fifteen faces. In a certain respect this is like returning to a past unlived and yet returned, like a path to memory that turns its back on forgetting.