Character Analysis
Jeffrey and George Greggson aren't particularly dynamic characters. Jeffrey's a happy-go-lucky boy who enjoys playing and exploring and shows no signs of being special in any way. And George, like Stormgren before him, is there mostly as someone to receive exposition for Acts II and III. In other words, people tell him things so the reader can receive the information, too.
Remember that scene in Chapter 15 where George takes a tour of Athens Island? Or the one in Chapter 18 where Rashaverak informs him on what's happening to Jennifer? Those are just two examples of what we're talking about.
While not particularly distinct or exciting as far as characters go, this father-son duo are important players in the story, and in a way, it's this lack of special characteristics that makes them interesting.
Snakes, Snails, Puppy Dog Tails
Jeffrey is a perfectly ordinary boy. In fact, he's so perfectly ordinary that the narrator makes a point of saying "Jeff was a perfectly ordinary boy" (17.66). But Jeff eventually becomes anything but ordinary when he develops into the first child to begin the transformation toward the Overmind. If you wish to learn anything about what the Overmind is, then you should look toward Jeff.
For starters, Jeff shares his father's artistic talents. He becomes the theater's "unofficial mascot" (17.65), and spends much of his time backstage helping with the productions.
Jeff is also an explorer. The narrator points out that Jeff would "go exploring the shallower water of the lagoon" (16.1), and before almost being killed by the tsunami, the boy was on his way to explore a sunken ship in said lagoon.
Finally, Jeff has a vivid imagination. His dreams of far away planets and strange dimensions suggest as much, even though they turn out to be real places. He's also not afraid to enjoy his imagination, as he wishes to return to the places he dreams of rather than be scared of them (18.22).
Through these characteristics, we glimpse the traits the Overmind values: imagination, a desire to explore, and an artistic urge to create. Oh, and let's not forget that childish sense of wonder, too.
Like Father, Not Like Son
George is like his son, Jeff, in many ways. He's artistic, creative, and he's willing to try new things—you know, like move to an artistic commune in the middle of the Mediterranean Sea on a whim.
So the question we should ask is why George and his generation don't begin the transformation into the Overmind. What is it about Jeffrey that is different enough to give him the go ahead?
The answer is an urge to explore the unknown. As we mentioned above, Jeffrey enjoys the idea of exploring the deep, dark mysteries of the universe. George, on the other hand, not so much:
But in this matter, George found himself on the side of the Overlords. He had no wish to face whatever lurked in the unknown darkness, just beyond the little circle of light cast by the lamp of science. (16.7)
In George, we see why Jeff was chosen to join the Overmind and why the Overlords are not. Although science is an excellent tool, it becomes stifling to these characters—they lack the drive to go beyond the realm of what they know, and instead are stuck in their comfy lives, unwilling to challenge and dream.
We see this aspect of George pop up at Rupert's party, too:
That anyone should still place the slightest credence in the supernormal seemed extraordinary to him, and finding Rashaverak here had shaken his faith in the Overlords. (8.24)
While artistically creative, George lacks imagination. His mind has shut itself off to possibilities and potentials he has not already deemed of merit. And because of this, he falls short of his son when it comes to the Overmind.
Through this father and son combination, we catch small answers in two mysteries of the novel: why Jeff and his generation were chosen to join the Overmind, and why George, his generation, and even the Overlords were not. Go team.