The Demons of Color

Jack spent most of the night whining about this or that, sifting through the notes and chronicles, the clutter that filled his head. This was the first step, he thought, toward regaining full composure, toward revealing the impostor that he believed was occupying his space, his body, replacing what he thought was authentic with a fiberglass harlequin dressed in red, purple, and orange. Jack understood the symbology of the color scheme, it seemed simple enough -- red for lust; purple for passion; orange for honor, but why he was being replaced by a harlequin baffled him.

What did the harlequin have to do with lust, passion, or honor? For that matter, Jack wondered what lust, passion, and honor had to do with him. He then began to doubt his symbolic color system. It seemed too simple, too black and white. He thought that perhaps by complicating the symbology the reason for the harlequin, of the harlequin, and why the impostor of Jack was a harlequin would become clear to him.

The wise-cracking Chump uses his flamboyant tongue to show his neediness.
The Funambulist finds justice in fantasies of danger.
The enthusiastic Foil uses sophisticated rhetoric to wish the kingpin good luck.
The cruelty of Jake fills the body with unnatural energy.
The Mountebank uses a balanced profanity to make his claims digestible.
The Revolutionary Picador proceeds warmly toward excess.

These six demons face the sea. Their re-conglomeration takes what it can from these previous bodies, relocates the parts and molds a form from what has been pillaged.

What was secondary now becomes primary to the demons-becoming-demon ... But, still six demons remain.

The cowardly Polymath finds tranquility in envy.
The Arbiter of deceit is on the verge of changing his mind.
The technology of the jealous Pundit is not without its charm.
The illness of the Aristocrat is a hazard of loyalty
The confident Pragmatist uses vigorous persuasion
The intellect of the Quidnunc relies on the profanity of luck.

Any demon that is not used in the conglomerate is mixed with a fluid medium -- in this case, Baltic Sea water, and then applied to the new form.

As a surface, an old book will do fine but requires a process of erasure and must be combined with additional objects prior to the application of the war paint. A found key might be used as well but the lock it fits must first be lost or destroyed.

Anything will do in a pinch as long as there is a destructive preparatory process.