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Egregores are, first and foremost, emergent intelligences of an organization of people, and the physical implements that carry out a specific egregore's directives. This includes the buildings, vehicles, and machines that people use and the resources or capital to which they have access. A second layer of the egregore's manifestation is the network of relations between the people and the objects that make up the egregore, especially those lines of communication that already exist. A third layer of manifestation is the protocol, the acceptable practices that direct the organization's normal modes of functioning⁸².

All of these layers wrap around a core directive, the purpose of the organization, or, in other words, what the egregore is trying to do. The protocol is how this goal is achieved, and is probably the layer where challenging and transforming the egregore are most easily accomplished, although each of these layers gives a different line of entry into affecting change in the organization. A common error is to focus on egregores as purely spiritual or astral intelligences while overlooking the physical parts engaged in physical actions that manifest this emergent intelligence of the egregore. If the Joker only existed on the pages of comics we could not say that he lived, as he would be a static object rather than a dynamic archetype. If every page that portrays him and every person that remembers him are nodes, and the patterns of interaction between these nodes are a network, then the Joker exists in the cybernetic spaces created by this network. The Joker lives because he is dynamic, he changes over time while continuing to exhibit a cohesive nature. Changes and new events occur in the context of remembered actions.

Furthermore, we suspect that we are on the verge of a potential shift back to one of the oldest forms of writing in the form of iconographic references, and that comics in general have had a large part to play in this coming integration of images and language. We are already controlling technology (televisions, computers, cellphones, and stereos) by clicking icons, and as we attempt to communicate to people with many different languages, we see sequences of icons, or sequential art--a.k.a. comics--becoming the lingua franca of the digital world. (Transmedia is the hashtag by which this shift is recognized.)