The Second is a desperate act, motivated to disprove the miracle of the First whose creation sits isolated in its uniqueness. With the Second, the First’s success is both imitated and avoided. Most intimate with the somatic void, the Second causes contortions: choking loses its ability to satisfy; no amount of bloating or masturbation can calm. And soon the affinity with wood begins; the knock which wood emits parallels the same grief consequently experienced by the act. Rolling pins, spoons, chopping boards, and pencils, are collected then swallowed, where they remain for days inside the gullet of the acting absentee.
The Second is always darker and misshapen. The Third is yellow, too thin, shivering. The Fourth is forgotten. But by the Fifth, what was unique to the First has been reclaimed and matured. Production continues in monochrome until the Twentieth where rigidity is inevitable, indicating a necessary conclusion: a set has been achieved.
In times of further desperation, the set’s success inspires a sequel. But the set’s style was developed through a partnership with a particular content whose urgency no longer exists, and the improper resurrection of this style would only defile its quaint legacy.