Chromaticity

Disclaimer: I in know way own any part of power rangers, this was written purely for fun and I am making no profit from it. Power Rangers belongs to Disney (shudder) etc. etc.

Summary: Every person is a colour; but without a power coin to tell you how do you know which colour you are? Eugene Skullovitch discovers and comes to terms with the colour he is inside, and learns a little about the world, and people, around him.

Grey

Grey isn't really a colour, it's a non-colour and more so than any other non-colours. Black is a non-colour, but at least it's a committed non-colour: when it does something it does it completely; consuming every thing around it. Black is determined and irremovable, when black latches onto something it doesn't let go. White, like grey is also a non-colour: it's pure and untainted the base for all other colours to build off. White is the colour of empty canvases waiting for paintings, of empty novels waiting to be written: White is the colour of possibilities.

Grey is neither of these things and both: in the same way that it is a mixture of black and white. Grey is the non-colour of unfulfilled potential, of tainted possibilities. In the same way that Black latches onto things with its entirety grey clings half-heartedly, mostly to things it ought to leave behind.

Eugene Skullovitch is most definitely grey. When he was younger he had potential; he could have been clever, or artistic, perhaps even brilliant if his natural skill for the piano was anything to go by. Instead he was nothing, a shadow of what might have been.

Sometimes he wonders at the choices he's made, the possibilities he's wasted and thinks that even now he could change and become something better. All it would take was one step in the right direction and the rest would come easily, he knows this, because he isn't stupid no matter what they say. But that first step is the most difficult and, unfortunately for Eugene; grey is not the colour of courage.

Grey version 2

'Squirrels are grey' noticed Eugene one day as he stared dreamily out of the windows,' as are clouds and rocks. Grey is a part of nature as much as any of the real colours, perhaps more so. It may not be as obvious about it as the brighter colours, but it is there, and it has a part to play. Without grey skies would anyone ever truly notice how wonderful a sunny day is? Without the dull grey city streets would anyone appreciate the beauty of a meadow? Grey is the colour behind the other colours, the thing that allows all other colours to be noticed, to be special.

He is most definitely grey, but that doesn't have to be a bad thing. Perhaps he will never achieve the greatness of the other flashier colours, but nor will he ever have to face the pressures of maintaining their brightness: Grey does not fade with time.

Grey is eternal, unchangeable, unaffected by the passing trend or idea. Grey is the constant that allows the other colours to change and develop, always striving to be something new, something other than grey. Yet Grey is also their foundation: where as all other colours die out and re grow, like flowers in spring, grey remains throughout all the seasons: a reminder that everything is not lost and a promise that the other colours will return.

Grey will never be extraordinary, but in its ordinariness it finds a place in the world: it allows the extraordinary in others to be seen.

Eugene Skullovitch is grey, a non-colour in a world of brightness, without the potential for greatness but with an unclouded vision of the colours of those that surround him.