The Dark Tower & The Frame — A Dimensional Reflection on Myth and Initiation
- Christos
- Aug 24
- 19 min read
Part I: Keystone Earth — The Matrix & The Child of Light
The opening act of The Dark Tower introduces us to Jake Chambers, a boy living in New York City, caught between dreams of another world and the harshness of his present one. To the uninitiated viewer, Jake may seem like a troubled child: haunted by visions, alienated from his peers, and strained in his family life. Yet through the lens of The Frame and the Edenian Codex, Jake’s early journey is much more than adolescent struggle — it is the portrayal of a Child of Light (5D) incarnated into the density of the Matrix (3D). His story on Keystone Earth is the archetypal tale of a soul whose frequency is too radiant for the systems that attempt to contain him.
Keystone Earth as the Matrix (3D Entrapment)
Keystone Earth, the film’s version of “our world,” is not neutral. It is a stage of entrapment, mirroring what The Frame calls 3D – The Matrix, the final dimension of the Realm of the Destroyer. Here, materialism, conformity, and false systems of authority govern life. For Jake, this is embodied not only in the grayness of his school and city streets but also in the structures closing around him: classmates mocking his visions, psychiatric authorities labeling him delusional, and a stepfather pressuring to have him institutionalized.
The Ahrimanic impulse is fully at play in this realm. It thrives in rigid intellectualism, societal systems, and the illusion of free will. Jake’s drawings of the Dark Tower, Mid-World landscapes, and strange creatures are dismissed as “obsessive” or “psychotic.” In truth, these sketches are windows into higher dimensions, evidence of his consciousness reaching beyond the Matrix. But in 3D terms, such visions must be suppressed, medicated, or explained away. Jake’s predicament embodies what happens to many Children of Light in our world: their radiance is pathologized because the systems of the Destroyer Realm cannot fathom it.
Lon: The False Father
One of the most striking archetypal figures on Keystone Earth is Lon, Jake’s mother’s partner. He is not Jake’s biological father, but he seeks authority over him, pushing Laurie to send Jake away to psychiatric care. In Edenian terms, Lon embodies the False Father: the Ahrimanic distortion of paternal energy that appears in 3D. Rather than protect and guide, the False Father enforces conformity and suppression. His presence fractures Jake’s home, representing the false structures of control that dominate the Matrix.
By contrast, Jake’s biological father — absent and largely undefined in the film — is a shadow of the archetypal True Father that Jake will later discover in Roland. This sets the stage for the Christ-Mercurian recursion of Father → Son → Father, a cycle that balances worlds. For now, though, Jake must endure the false: the hollow paternal mask that seeks to deny his Shine.
The Low Men: Masks of the Matrix
Jake’s confrontation with the so-called “psychiatrists” who come to take him away is one of the first truly initiatory moments of the film. These men are not what they appear. They are the Can-toi, or “Low Men,” servants of the Man in Black. In Stephen King’s cosmology, the Can-toi are hybrids of humans and Taheen (animal-headed beings), wearing masks to appear human. Their facades are unsettling — slightly off, like poorly fitted costumes.
This imagery directly parallels the 1988 film They Live, in which John Nada (Roddy Piper) dons special sunglasses to see the ghoulish faces of the elite hidden beneath human disguises. Just as Nada “sees through the lie,” Jake recognizes that the psychiatrists are not healers but predators.
The symbolism is unmistakable: the Matrix operates through masks. These masks conceal the true nature of systems, institutions, and even people when they serve Ahrimanic forces. To live in 3D is to mistake the mask for reality. But Jake, through his heightened perception, pierces the illusion. His awareness that the Low Men are not what they claim places him already in 4D Atlantis frequency— the realm of sovereignty and seeing beyond the veil. By refusing to submit, Jake takes his first act of 4D sovereignty: choosing to protect his Shine rather than surrender to false authority.
The Shine: Aura of the Children of Light
Jake’s defining trait is what the characters call his “Shine.” In the movie, Shine is shorthand for psychic ability: telepathy, vision, aura sensitivity, the ability to perceive across dimensions. But in Edenian terms, Shine is far more than a supernatural quirk — it is the living light of 5D Samadhi, the frequency of the Children of Light.
Across mythologies, beings of immense aura have been called the Shining Ones. The very word Elohim, in Hebrew, is etymologically linked to “those who shine.” In Celtic tradition, the Tuatha de Danann were luminous beings who descended into Ireland with radiant power. In Gnostic texts, the aeons of light descend into matter to awaken it. Jake is inscribed into this lineage: his aura is the unmistakable marker of a soul carrying 5D resonance into a 3D world.
The contrast is stark. In school, Jake is mocked for his strangeness. At home, his stepfather wants him committed. He has few friends, and his only true outlet is his art, where he sketches visions of Mid-World, the Tower, and the portals. This is the paradox of 5D frequency in a Matrix environment: it does not fit. Where 3D demands conformity, 5D radiates difference. Where 3D prizes rationality, 5D sees symbols and dreams. Jake embodies the incompatibility of light in a world addicted to shadow.
Dreams of Mid-World: Glimpses of the Higher Realms
Even while trapped in the Matrix of Keystone Earth, Jake’s dreams transport him elsewhere — to a world that feels at once desolate and sacred. He sees visions of Roland, of ruined landscapes, of a great Tower standing at the center of everything. Though he cannot name it yet, his sketches and restless drawings hint at a deeper cartography: fragments of a cosmic geography pressing into his awareness.
These dreams foreshadow what will later be revealed in Mid-World: that Jake’s visions are not random but a kind of psychic cartography, his Shine already tracing the outlines of the axis mundi.
When he finally meets Roland, this mystery will come into focus as the boy learns he has been unconsciously mapping the archetypal center known across cultures as Hyperborea, The Garden of Eden, Mount Meru, Yggdrasil,The World Tree, and Rupes Nigra, The Black Rock — the Dark Tower itself. For now, on Keystone Earth, Jake only knows that his dreams feel more real than the world around him. They are whispers of a higher dimensional order breaking through the cracks of 3D. His aura is too strong to be bound by the illusions of the Matrix; his Shine has already begun reaching toward the Mountain, even before he steps through the portal.
Child of Two Worlds
By the end of the first act, Jake is revealed as a child straddling two realities:
In Keystone Earth, he is dismissed, belittled, and threatened with institutionalization.
In the dream-world, he is recognized as radiant, his Shine powerful enough to attract the attention of the Man in Black.
This duality situates him exactly in the transitional threshold between 3D and 5D. He has already pierced 4D illusions (seeing through masks, asserting sovereignty), but he belongs most fully to the Children of Light in 5D. He is a soul out of place, awaiting the threshold where his inner frequency and outer reality will finally align.
Jake’s journey from Keystone Earth to Mid-World is not simply about changing worlds. It is the symbolic transition from Matrix entrapment to soul sovereignty, from a false father to a true one, from the illusion of masks to the radiance of truth. His passage is the passage all seekers must face when awakening from the 3D collective: the recognition that one’s light will never be accepted in the Matrix, and so it must cross into a higher reality.
Part II: Thresholds, Dragons & The House Demon
Jake’s escape from Keystone Earth culminates in a decisive trial: the passage through the haunted house that conceals a portal. This sequence is not merely a horror set piece — it is the archetypal threshold test, a confrontation with the Dragon that guards every doorway between dimensions. The Edenian Codex and The Frame reveal that no soul ascends into a higher realm without first facing a guardian force, a being or trial that demands proof of frequency. In The Dark Tower, this takes the form of the house demon.
The Portal House: A Liminal Space
The abandoned house Jake discovers is more than a derelict building — it is a liminal structure, a “haunted house” that embodies the instability of thresholds. In myth and initiation, houses at the edge of reality often appear as distorted, threatening, or alive. They are not safe shelters but living riddles. The Frame names these points Dragon Gates: crossings where the old dimension ends and the new one begins.
Jake enters the house alone, a child armed with nothing but his Shine. Already, the walls warp and shift around him. Floorboards rattle, hallways elongate. The house begins to devour him — a manifestation of the fear that stepping into another world will dissolve the self.
This imagery matches the descriptions of the Garden Gate Dragon (5D → 6D):
“I test you with hollow plans, with dreams that collapse when touched. To pass, you must lay your foundation in truth, and dwell within it.”
The collapsing house is the collapsing plan, the test of whether Jake’s light has form or whether it will disintegrate under pressure.
Dragons as Threshold Guardians
Within the Edenian Codex, the ten Dragons each guard the passage between dimensions. They are not literal reptiles but initiatory forces, the condensation of fear, illusion, and trial at the edge of transformation. To move from one dimension of consciousness to another is to confront the Dragon of that crossing — to answer its riddle and withstand its fire.
The house demon is the cinematic incarnation of this principle. Its jaws snapping through the floor, its claws tearing the walls, the demon embodies chaos breaking through the familiar. For Jake, this is not only a fight for survival but a spiritual test: can his Shine, the light of 5D, withstand the consuming darkness of the threshold?
The answer is yes. Jake channels his Shine, radiating the psychic aura that has isolated him in Keystone Earth but now becomes his greatest strength. The house collapses, but he emerges victorious, pulled through the portal into Mid-World. He has answered the Dragon’s riddle not with words but with radiance: his aura itself, it's purity, is the foundation that the test demanded.
The House Demon as Dragon VI (5D → 6D)
Interpreting the house demon specifically, it aligns with Dragon VI — The Garden Gate. This Dragon guards the crossing from 5D Samadhi (Children of Light) into 6D Garden of Eden (The Angels).
Its question is:
"What is the worth of light, if no vessel can hold it?"
Jake embodies 5D frequency — luminous, radiant, dreaming of higher worlds. But unless his Shine can survive form, structure, and confrontation, it cannot pass into 6D.
The house demon embodies hollow collapse. It tests whether Jake’s visions are only dreams (fragile sketches on paper) or whether they can withstand direct threat. By defeating it, Jake proves his Shine is not a fragile fantasy but a true foundation. He earns the right to enter Mid-World, the Generator Realm, where visions take shape as structures and destinies.
Thresholds Across Myth: The Hero’s Trial
The sequence also resonates with universal mythic patterns. Heroes rarely cross into other worlds unchallenged. Odysseus must pass Scylla and Charybdis, Jason must face fire-breathing bulls, Dante must endure the Inferno before reaching Paradise. Each test is less about the monster itself and more about whether the initiate’s inner frequency is strong enough to pass.
For Jake, the house demon is his Scylla, his Inferno. Without it, his Shine would remain untempered. The trial does not add something new to him — it reveals what was already there. His light, long suppressed in Keystone Earth, now shines against an adversary that demands its full intensity. Passing the threshold, Jake steps into his true inheritance: the journey toward the Tower.
The Symbol of the House
Why a house? Why not a beast in the woods or a dragon in the sky? The answer lies in the nature of Jake’s test. A house is supposed to be safe, protective, a place of family and belonging, a safe environment of the 2D Child. But for Jake, “home” has been corrupted: a stepfather who embodies false fatherhood, a mother unable to protect him, psychiatrists posing as caregivers who are predators in disguise. His test must come through the collapse of the home itself, revealing that safety cannot be found in the 2D/3D house.
By overcoming the demonized house, Jake symbolically leaves behind false security. He no longer clings to the illusions of Keystone Earth [The Realm of The Destroyer]. His true home will be found in Mid-World [The Realm of The Generator] , in the Father-Son bond with Roland, and ultimately in the Tower itself.
From Vision to Embodiment
The house demon also marks a pivot in Jake’s journey: from vision to embodiment. Jake’s dreams could have collapsed with him in the jaws of the house. Instead, his aura anchors them into form. This prepares him for Mid-World, where visions must become structures, and where the Christ-Mercurian impulse of Roland will teach him to align message and method.
Part III: Mid-World, Roland & the Christ-Mercurian Archetype
Jake’s passage through the haunted house deposits him into a starkly different reality. The streets of New York are gone, replaced by endless desert plains, charred remnants of once-living forests, and skies colored with the strange, haunting hues of another realm. This is Mid-World — a land that feels both ancient and broken, a world out of time. Here, Jake finally encounters Roland Deschain, the last Gunslinger. Their meeting is not a coincidence of fate but the convergence of archetypes: the Child of Light and the Christ-Mercurian Knight, drawn together by the Tower itself.
Mid-World: The Realm of the Generator
Mid-World corresponds directly to what The Frame calls the Realm of the Generator—the span of 7D, 8D, and 9D, ruled by the Luciferic impulse. Time here does not flow as it does on Keystone Earth. Days stretch or contract unpredictably, scars of battles past still linger, and portals open to other realities. It is a liminal world, reflecting the fire of spiritual ascent but also the dangers of becoming lost in its illusions.
For Jake, Mid-World is disorienting yet strangely familiar. His dreams have already carried him here, so what seems alien to others has already lived in his inner world. This is the paradox of his Shine: he is a child of Keystone Earth, but his aura belongs to higher dimensions. In Mid-World, the inner landscape he has carried in vision now becomes the external landscape around him.
Roland Deschain: The Christ-Mercurian Knight
Roland enters as the archetypal wounded knight. He is world-weary, his quest seemingly endless, his heart scarred by loss. Yet he is also unmistakably a bearer of the Christ-Mercurian impulse: the harmonizing force that mediates between form and spirit. Roland is not a mystic retreating from the world, nor a brute lost in materialism — he is the steward who translates divine truth into practical form. His very weapons embody this.
Roland’s revolvers are forged from the metal of Excalibur, King Arthur’s legendary sword. This is no throwaway reference; it is the symbolic key. In Edenian canon, the Sword in the Stone is one of the Fourfold Relics, linked to the Christ-Mercurian impulse. It represents the harmonizing of masculine initiative with divine wisdom, the act of anchoring spirit into form. By wielding guns cast from Excalibur, Roland does not merely inherit Arthur’s legend — he inherits the energetic lineage of the Christic steward. He is the knight whose authority does not come from conquest but from alignment with divine law.
Just as Arthur was the once-and-future king, destined to return when the land is in need, Roland stands as the last steward in a dying Mid-World, carrying the Christic balance forward when all else has collapsed.
Etymology: Even his name carries the weight of archetype. Roland derives from Old High German, meaning “fame of the land,” recalling the legendary knight of Charlemagne’s court, celebrated for loyalty and tragic duty. His surname, Deschain, can mean “of the chains”—bound by oaths and fate—or “of the oak,” referencing the sacred tree of endurance and or world tree. Together, his name reveals his role: the famed knight bound by destiny, rooted in the axis of worlds he is sworn to protect.
The Recursion of Father and Son
A key moment in the film reveals Roland’s past: the Man in Black kills his father before his eyes. This wound defines Roland, leaving him rootless, locked in the cycle of vengeance. But archetypally, it sets the stage for the Christ-Mercurian recursion: when the Father dies, the Son becomes Father, and must take on a new Son.
The timing is no accident. As Roland loses his father, Jake arrives in Mid-World through the portal. The succession is seamless: the cycle continues. Roland, once the Son, now becomes the Father. Jake, arriving as Child of Light, becomes the Son. Together they form the archetypal pair that sustains balance.
This recursion mirrors the eternal paradox of 12D Alpha and 11D True Sight: the Crowned Child (Son) and the Divine Father are one in recursion. The Son creates the Father so the Father can create the Son. In Roland and Jake, this cosmic cycle is dramatized on a human scale. Their bond is not merely emotional but structural — it keeps the worlds in balance.
Todash Space: The Abyss Between Worlds
It is here, under Roland’s mentorship, that Jake begins to understand the true cosmology of what he has seen. Roland explains that worlds are stitched together by portals, but between them lies a void — Todash space.
Todash is the abyss, the place of unmaking. It is not unlike the 10D Omega frequency: the black magnetic womb that dissolves all form before rebirth. For those who fall into it, Todash is terror — a place of dissolution, endless darkness filled with monstrous whispers. Yet for those who pass through rightly, it is sacred. It is the void that binds the worlds, the space through which the Tower projects its sustaining beams.
By introducing Jake to Todash, Roland inducts him into the truth that between every dimension lies a gate of death-and-rebirth. This is why Dragons guard thresholds. Every crossing is perilous because it brushes against the abyss. Jake’s survival of the house demon was his first taste; Roland now names the principle behind it.
The Sand-Map: The Rose Remembered
One of the film’s most telling moments comes when Jake, seated in the desert sands of Mid-World, begins to draw. His Shine guides his hand into a circular map: lands arranged around a central axis, with the Tower at its heart. Roland recognizes it immediately — not the scrawl of a child but the map of Hyperborea, the archetypal geography of the soul.
This image echoes ancient myths of the axis mundi:
Rupes Nigra (“the Black Rock”) at the North Pole, described in medieval cartography.
Mount Meru in Hindu cosmology, the central mountain of all creation.
Yggdrasil in Norse myth, the World Tree binding the nine realms.
The Magnetic Mountain of the Rosicrucians.
Jake, without formal teaching, is drawing what mystics across cultures have named for millennia. His Shine does not merely show him visions — it anchors him in the archetypal memory of the soul. He is remembering the cosmic structure that undergirds reality. Roland affirms this, showing Jake that his gift is not madness but gnosis.The map serves to show Roland the location of the Dark Tower, which is rooted in the physical representation of Keystone Earth.
Roland as Mentor: Message and Method
Through these lessons, Roland embodies his role as Christ-Mercurian steward. He does not only protect Jake — he teaches him. His guidance reflects the essence of the Christ-Mercurian impulse: balancing message and method, ensuring that what is delivered aligns with what is true.
Where Jake has vision, Roland provides structure. Where Jake has Shine, Roland provides form. This is the relationship between Son and Father, between dream and method, between 5D Samadhi and 6D Garden of Eden. Together they enact the bridge from vision to manifestation.
A Landscape of Broken Beams
As Jake learns from Roland, the two travel through Mid-World’s ruins, where ancient beams — the forces holding reality together — lie broken. These beams, in King’s mythos, radiate from the Tower to sustain all worlds. In Edenian language, they echo the Christ Plasma Beam ignited at 7D The Mountain, the axis where Magdalene-Sophia and Christ unite to sustain creation. The fact that beams are breaking signals a cosmic crisis: the Christ-Mercurian balance is failing, the Luciferic shadow is gaining ground, and the worlds themselves tremble. This crisis can be felt in other dimensions of the world, showing us that events taking place in the higher dimensions trickle down to affect the lower dimensional realities.
Jake’s Shine, Roland’s guns, their union as Son and Father — all are needed to preserve the Tower, the axis, the balance of being itself.
Part IV: The Tower, the Rose & the Fourfold Dance
As Roland and Jake’s path unfolds, the story draws them closer to the great mystery at the heart of all worlds: the Dark Tower. Though glimpsed from afar, the Tower is never just a structure. It is the axis of creation, the pillar upon which all realities rest. Every myth has named it differently — Yggdrasil, Mount Meru, Rupes Nigra, Golgotha, the Magnetic Mountain — but its essence is always the same. It is the point where heaven and earth converge, where spirit and matter meet, where the beams of existence are anchored.
The Tower as the Mountain (7D Axis)
In The Frame, this archetype is expressed through 7D – The Mountain, the first dimension of the Generator Realm. The Mountain is the cosmic pole, the unshakable center toward which all compasses turn. It is not only a place but a frequency — the pull of spirit drawing all beings toward alignment with divine order.
The film renders this archetype through the Tower: impossibly tall, impenetrable, black against the horizon. Its very name echoes the ancient Rupes Nigra, the “Black Rock” said to lie at the world’s northern pole, the immovable stone at the center of oceans and storms. By calling it the Dark Tower, King echoes this forgotten cartography of the sacred axis.
Roland describes the Tower not as myth but as reality: the nexus of all worlds, the heart that holds the fabric of time and space together. In Edenian terms, it is the Christ Plasma Beam ignited at the Mountain, the column of light that sustains all realms. Without it, the beams collapse, and the worlds unravel.
The Rose of Keystone Earth
Yet the Tower does not exist only in Mid-World. On Keystone Earth, it appears as a single Rose growing in an empty lot in New York. This Rose is more than a symbolic flourish; it is the feminine counterpart to the Tower. Where the Tower is axis, the Rose is vessel. Where the Tower is vertical, the Rose blooms outward. Together they form the Rose-Cross, the Rosicrucian emblem of the soul’s dimensional journey.
In Rosicrucian symbolism, the Rose-Cross represents the integration of opposites — spirit and matter, masculine and feminine, axis and chalice. The Tower (the cross, the axis) is meaningless without the Rose (the Grail, the vessel). Keystone Earth’s Rose is thus not incidental but essential: it is the Magdalene-Sophia impulse, the Grail that receives the Christic light.
Jake, as Child of Light, is deeply attuned to this. His Shine vibrates with both Tower and Rose, masculine axis and feminine vessel. Through him, these archetypes converge. He becomes the living Rose-Cross: the Son uniting Father and Mother, Christ and Sophia, in his very being.
The Man in Black: Luciferic Shadow
Every axis attracts its shadow. In this myth, the shadow is embodied by the Man in Black, Walter. He is not simply a sorcerer or a dark lord — he is the distorted face of the Luciferic impulse. Lucifer, in its true sense, means “light-bearer”: the force of vision, transcendence, and spiritual aspiration. But in shadow form, it becomes domination, coercion, false illumination.
Walter cannot kill Roland directly; Christ-Mercurian balance is beyond his reach. Instead, he seeks to break the Tower by channeling psychic energy into its beams. His goal is to weaponize Shine — to twist the radiance of Children of Light into a destructive current. Jake, with his extraordinary aura, becomes Walter’s primary target.
Here, we see the archetypal struggle: Luciferic shadow seeking to hijack the Christic child. In The Frame, this echoes the battle between 8D The Dragon and the ascending soul. The Dragon tests whether power will be wielded for harmony or destruction. Walter is the Dragon externalized — a fire-bearer turned tyrant, testing Roland and Jake at the edge of the Tower’s beams.
The Final Confrontation
The climax of the film brings Roland and Walter face-to-face. Roland’s guns, forged from Excalibur, become more than weapons. They are the Christ-Mercurian relic itself — the Sword in the Stone transmuted into revolvers. Each bullet carries the harmonizing force of truth over deception, balance over chaos.
Walter taunts Roland, wielding fire and illusion, mocking his loyalty to the Tower. But Roland does not falter. He fires with perfect clarity, each shot a fusion of form and message, method and truth. The Christ-Mercurian impulse manifests through him fully: the steward aligning weapon with word, body with spirit.
Jake, too, plays his role. His Shine does not merely illuminate — it anchors Roland’s aim, amplifying his father’s strength. In their union, the recursion of Father and Son is complete. Together they overcome the Luciferic shadow, preserving the Tower and stabilizing the beams.
The Fourfold Dance in the Story
By the end of the film, we can see how the entire arc of The Dark Tower mirrors what the Edenian Codex calls the Fourfold Dance:
Ahrimanic (1D–3D): Keystone Earth, Lon as false father, psychiatrists as masks, Jake mocked and threatened by material systems.
Christ-Mercurian (4D–6D): Jake’s Shine, Roland’s Excalibur guns, the Father-Son recursion, their alignment of message and method.
Luciferic (7D–9D): Mid-World as Generator Realm, the Man in Black as shadow light-bearer, the Dragon-like tests and collapsing beams.
Magdalene-Sophian (10D–12D): Laurie’s death opening Jake’s channel to the Divine Mother, the Rose as Grail, the hidden vessel sustaining the Tower.
The film is not just a story of good versus evil. It is the enactment of the four impulses that shape consciousness. Jake’s journey dramatizes how these forces interweave, test, and ultimately balance each other.
Jake’s Royal Inheritance
In the end, Jake’s journey is one of transfiguration. On Keystone Earth, he was the boy mocked for visions, threatened with institutionalization, abandoned by a false father. In Mid-World, he becomes recognized for what he truly is: a Child of Light, radiant with Shine, heir to the Tower’s mysteries.
His mother’s death, tragic though it is, also completes an archetypal passage. Laurie, as maternal figure, opens the channel to 10D Omega, the Divine Mother. Through loss, Jake is initiated into a higher inheritance. In The Frame, this is often how the Magdalene-Sophia impulse awakens: through grief that becomes gnosis. By surviving and aligning with Roland, Jake steps into royalty — not earthly kingship but the sovereignty of a soul aligned with the axis of worlds.
The Rose-Cross Completed
The Tower stands, the Rose blooms, and Jake and Roland walk forward together. This image closes the film, but symbolically it is the completion of the Rose-Cross mystery. The vertical axis (Tower) and the blossoming vessel (Rose) are no longer separate symbols — they converge in the lives of the characters. Roland, the Christ-Mercurian steward, embodies the axis. Jake, the Child of Light, carries the Rose, the Grail of radiance. Together they preserve creation itself.
This is why The Dark Tower resonates so deeply: it is not merely a fantasy but a cinematic initiation into the mysteries of The Frame. Every archetype — the False Father, the Masked Low Men, the Dragons, the Grail, the Axis — appears in living motion. The story reminds us that each soul carries a Shine, each life is tested by Dragons, and each journey ultimately leads to the Tower at the center of all.
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