Given the chance to live forever in a world not built for death, what do you do?
+
Given the inability to forget—all your joys and sorrows, all your foundational memories and traumas—how do you cope?
+
Given the ability to create a full copy of yourself—down to every single one of those memories—to do as they will, to individuate and live out their own forever lives, or merge back down and meld their memories with your own, what paths do you take?
+
+
-
-
-
-
-
-
Given the chance to live forever in a world not built for death, what do you do?
-
Given the inability to forget—all your joys and sorrows, all your foundational memories and traumas—how do you cope?
-
Given the ability to create a full copy of yourself—down to every single one of those memories—to do as they will, to individuate and live out their own forever lives, or merge back down and meld their memories with your own, what paths do you take?
-
-
-
-
Updates
-
-
-
-
The Post-Self Cycle
-
-
-
And thus grew a new world, a world that was not built for death…
-
-
From the very beginning of the consensual dream of the System, the members of the Ode clade, all forks from the same core personality, have dealt with fear each in their own way. Do they search for greater ways to control their lives? Do they hunt for yet deeper emotional connection? Do they hone their art to the finest point?
-
From roots in political turmoil to the building of a new society, the story is there to be found, and the Bălan clade is there to tell it.
-
-
-
-
Clade
-
-
-
Clade(n) – /klɛ:id/ – post-self theory
- A group of individuals patterned off a single root consciousness, formed through branching expansion of the forking of its constituent members.
- See also: cladistics, cocladist, up-/down-/cross-tree instance, forking, post-self theory.
- — The System Central Library Encyclopedia
-
-
To split oneself among however many individuals, to let the mind drift and diverge, to feel the world from points of view not your own, and then let those memories crash down into you…well, it inspires a feeling best described as ‘heady’, to say the least.
-
Ten stories by ten authors, all set in the Post-Self universe. An extra funded by the Mitzvot Kickstarter backers.
-
-
-
The Post-Self TTRPG
-
-
A tabletop role-playing game powered by The Apocalypse, an extra funded by the Mitzvot Kickstarter backers.
-
Coming soon!
-
-
-
About
-
The Post-Self universe is an open setting for exploring the ramifications of being able to create copies of oneself, of what it means to undergo individuation, of what it means to let memories build up and up and up within oneself. All of the information on working with the universe is contained within this appendix, an extra funded by the Mitzvot Kickstarter backers.
-
-
Extras — Additional stories, resources, and visual art
-
Timeline — A basic timeline of events covered in the books
-
Dramatic Personae — A list of characters in the books and where they came from
As an open setting, everything is free to use for your own purposes under a Creative-Commons 4.0 Attribution license. These stories wouldn’t be what they are without the contributions of others.
-
-
+The Post-Self universe is an open setting for exploring the ramifications of being able to create copies of oneself, of what it means to undergo individuation, of what it means to let memories build up and up and up within oneself. With five novels, four novellas, an anthology of short stories, and plenty more besides, there's story to explore spanning more than three centuries of history.
+Interested in a quick-start on the setting? Check out [What is Post-Self?](https://wiki.post-self.ink/wiki/What_is_Post-Self%3F) on the wiki!
+
+
+
Updates
+
diff --git a/content/about/_index.md b/content/about/_index.md
index 67ed121..5fc655e 100644
--- a/content/about/_index.md
+++ b/content/about/_index.md
@@ -17,14 +17,21 @@ ul {
> "All artists search. I search for stories, in this post-self age. What happens when you can no longer call yourself an individual, when you have split your sense of self among several instances? How do you react? Do you withdraw into yourself, become a hermit? Do you expand until you lose all sense of identity? Do you fragment? Do you go about it deliberately, or do you let nature and chance take their course?"
-The Post-Self universe is an open setting for exploring the ramifications of being able to create copies of oneself, of what it means to undergo individuation, of what it means to let memories build up and up and up within oneself. All of the information on working with the universe is contained within this appendix, an extra funded by the *Mitzvot* Kickstarter backers:
+The Post-Self universe is an open setting for exploring the ramifications of being able to create copies of oneself, of what it means to undergo individuation, of what it means to let memories build up and up and up within oneself. All of the information on working with the universe is contained within the [Post-Self Wiki](https://wiki.post-self.ink). Here are some good places to start:
-* [Timeline](timeline)
+* [What is Post-Self?](https://wiki.post-self.ink/wiki/What_is_Post-Self%3F)
+* [Writing in the Post-Self Setting](https://wiki.post-self.ink/wiki/Writing_guide)
+* [Glossary](https://wiki.post-self.ink/wiki/Glossary)
+
+The Wiki contains many spoilers. If you are interested in more information in a spoiler-free/spoiler-obscured format, the following pages are provided:
+
+* [Timeline](https://wiki.post-self.ink/wiki/No-spoiler_timeline)
* [Dramatis Personae](characters)
* [The Universe](universe)
-* [Glossary](glossary)
-* [Questions and Answers](questions)
+
-----
+For more discussion, conversation, and community, feel free to join the [Discord server](https://makyo.io/ps-discord) or [Telegram group](https://makyo.io/ps-telegram).
+
As an open setting, everything is free to use for your own purposes under a Creative-Commons 4.0 Attribution license. These stories wouldn't be what they are without the contributions of others; if you would like your work included here or simply have further questions, please feel free to [get in touch](https://makyo.is).
diff --git a/content/about/characters.md b/content/about/characters.md
index 185b456..3bd76fd 100644
--- a/content/about/characters.md
+++ b/content/about/characters.md
@@ -2,10 +2,15 @@
title: Dramatis Personae
---
-As the Post-Self universe contains billions, you're perfectly free to create your own characters to live, work, love, and hate within the setting. The following are those included in the canon, which you are welcome to use.
+As the Post-Self universe contains billions, you're perfectly free to create your own characters to live, work, love, and hate within the setting. The following are those included in the canon.
Spoilers for the Post-Self Cycle itself are marked as such: Yikes!. Hover to expose the spoiler.
+* [The Ode clade](#the-ode-clade)
+* [The Bălan clade](#the-bălan-clade)
+* [The Marsh clade](#the-marsh-clade)
+* [Additional characters](#additional-characters)
+
## RJ Brewster / AwDae (ey/em)
A sound tech for the Soho Theatre Troupe, RJ Brewster was among the lost in the early 2100s. Ey, along with Dr. Carter Ramirez, was instrumental in bringing to light the origin of the lost and ending that whole saga. As a member of the furry subculture, ey commonly appeared online (and while lost) as an agender anthropomorphic fennec. Ey focused strongly on making eir avatar (or av) as realistic as possible, down to the inability to form the same consonants that a human mouth would.
@@ -73,9 +78,35 @@ Another skunk-type Odist, Praiseworthy focused on shaping sentiment early on in
Commonly described as shitheads, Why Ask Questions and Answers Will Not Help shaped sentiment, with the former focusing on building camaraderie sys-side and the latter working via the text line to build support phys-side. Both are templated after the human Michelle rather than the skunk Sasha.
+### I Remember The Rattle Of Dry Grass
+
+An ex-systech who got tired of the politics involved, Dry Grass is a pretty standard human-type Odist. Hammered Silver's stanza focused on feelings of motherhood in all forms, which led to Dry Grass treating the whole of the System as her baby. She forked into In The Wind, who stayed on as a systech, and was killed in the Century Attack in 2400
+
### Time Is A Finger Pointing At Itself
-A Finger Pointing is human-type Odist who has devoted herself to theatre. She's described as a somewhat taller, somewhat more slender human Odist, dressing chic and modern, but with a simple desire to be everyone's friend.
+A Finger Pointing is human-type Odist who has devoted herself to theatre. She's described as a somewhat taller, somewhat more slender human Odist, dressing chic and modern, but with a simple desire to be everyone's friend. She is the executive director and administrator for Au Lieu Du Rêve, a theatre troupe that she started early on but which has grown to include several thousand members. Flamboyant and dramatic, she suffers from bouts of intense dissociation due to merging a crashing instance in the early 2300s. In a long-running relationship with Beholden, and one of Motes's two guardians.
+
+
+
+“...perhaps I hum little snippets of music to you, conducting with my finger as though that will better portray my intent.”
+
+
+### Where It Watches The Slow Hours Progress
+
+The clade's oracle and prophetess. Her predictions are less bound up in actual prophecy than the fact that, as Au Lieu Du Rêve's script manager, she has read a *lot* and can offer insights based on generalizations from those stories. Still, many come to her for advice and for her emotional openness.
+
+### And We Are The Motes In The Stage-Lights
+
+The babiest Odist, Motes has focused her existence on play, leading to her often appearing as a young skunk, anywhere from seven to twelve. This transgressive act has caused quite a bit of drama over the years. When she isn't little, she appears as a lithe twenty-something human, often in a flower crown and flowing skirt. Big flower-child energy. She treats A Finger Pointing and Beholden as her 'parents', calling them 'Ma' and 'Bee'.
+
+
+
+“Maaa~” Motes whined. “I am a grown up!”
+
+
+### Beholden To The Heat Of The Lamps
+
+A skunk-type Odist who is a sound tech and musician for Au Lieu Du Rêve, A Finger Pointing's partner, and the other of Motes's two guardians. She's brash and snarky, and has trouble restraining the hotter emotions due to the way she engages with the System.
## The Bălan clade
@@ -110,33 +141,33 @@ An occasional instance inspired by Debarre's habit of keeping a fork for his rel
## The Marsh clade
-### Marsh (he/him)
+### Marsh (they/them)
-Having gotten sick of the process of transition and uploading in the early 2220s, Marsh Hanson quickly settled in on the system, forking three times over and largely living vicariously through his forks while he focused primarily on singing and enjoying the laid-back life with his partners. In a relationship with Vos and Pierre LaFontaine.
+Having gotten sick of the process of transition and uploading in the early 2220s, Marsh Hanson quickly settled in on the system, forking three times over and largely living vicariously through their forks while they focused primarily on singing and enjoying the laid-back life with their partners. In a relationship with Vos and Pierre LaFontaine. They were killed in the Century Attack in 2400.
### Reed (he/him)
-*Coming soon!* In a relationship with Hanne Marie.
+Marsh's first fork, remaining transmasc after Marsh had (at first) adopted a cis-male appearance. In a relationship with Hanne Marie.
### Lily (she/her)
-*Coming soon!*
+Marsh's second fork, who went back to cis-female. Kind of hates the Odists, tbh.
-### Cress (they/them)
+### Cress (it/its)
-*Coming soon!* In a relationship with I Remember The Rattle Of Dry Grass of the Ode clade along with Tule.
+Marsh's third fork, who gave gender a miss entirely. It has adopted the identity of the littlest Marshan, and is a bit of a gremlin. In a relationship with I Remember The Rattle Of Dry Grass of the Ode clade along with Tule.
-### Rush (ve/ver)
+### Rush (ve/ver/vis)
-*Coming soon!*
+One of Reed's two forks, Rush is keenly interested in sims and sim artistry, and quickly becomes friends with Serene.
-### Tule (she/her)
+### Tule (he/him)
-*Coming soon!* In a relationship with I Remember The Rattle Of Dry Grass of the Ode clade along with Cress.
+Sedge's up-tree, and a bit of a brat. He returned to a cis-masc identity. In a relationship with I Remember The Rattle Of Dry Grass of the Ode clade along with Cress.
-### Sedge (he/him)
+### Sedge (she/her)
-*Coming soon!*
+Reed's other fork, focused on people and society.
## Relationships
@@ -183,7 +214,7 @@ A 'net addict and DDR (Direct Democracy Representative) junkie from Addis Ababa,
### Sarah Genet (she/her)
-Sarah is a psychologist and one of the emissaries chosen to meet with the Artemisians. She later becomes a mentor for Codrin as ey works on moving towards psychology as a career. She's described as having short, gray hair and wearing business casual sorts of clothes.
+Sarah is a psychologist and one of the emissaries chosen to meet with the Artemisians. She later becomes a mentor for Codrin as ey works on moving towards psychology as a career. She's described as an indigenous Canadian woman, with long black-and-gray hair and darker skin, often wearing business casual, though she tends to meet with her clients with an appearance that matches their mode of interaction..
### Debarre (he/him)
diff --git a/content/about/glossary.md b/content/about/glossary.md
index 4073f0d..9380896 100644
--- a/content/about/glossary.md
+++ b/content/about/glossary.md
@@ -20,14 +20,17 @@ Clade
Cocladist
: Used to refer to another member of the same clade. Up-, down-, and cross-tree are used to refer to the relation between the two cocladists: an up-tree instances is one that is descended from the individual, a down-tree instance is one from whom the individual is descended, and a cross-tree instance is one who shares the same down-tree instance but who isn't a descendent or an ancestor.
+Collective
+: A group of individuals who emulate the idea of clades phys-side, doing their best to maintain a tree-like hierarchy, share common names, and so on. Many also resent the System and refuse to upload.
+
Cone of silence
: A mechanic on the System that prevents others from hearing what those within the cone are saying. As of 2349, it is also possible to opaque or blur the contents of the cone from the outside, and to prevent the transmission of sensorium messages.
Conflict
: During the process of merging, memories and ideas between the up- and down-tree instances will differ, if only by physical point of view. The more these instances diverge, the more these differences will cause conflicts, whether in how they remember things or how they think about things. During merging, this takes effort to rectify internally.
-Collective
-: A group of individuals who emulate the idea of clades phys-side, doing their best to maintain a tree-like hierarchy, share common names, and so on. Many also resent the System and refuse to upload.
+Contraproprioceptive Virus (CPV)
+: A virus, usually used to assassinate an instance, which disrupts the instance's sense of proprioception to the point where they either crash or quit out of pain. Usually attached to a symbolic object such as a knife or syringe, the virus must be tailored to the recipient, and the object must pierce their skin; the System works based on the collected assumptions of its inhabitants, so something that causes one to break apart must first break the integrity of the target.
Dispersionista
: An individual who enjoys individuation on the System. They will fork and allow their forks to diverge from themselves without any goal of letting them merge back down.
diff --git a/content/about/timeline.md b/content/about/timeline.md
index 1277813..e785318 100644
--- a/content/about/timeline.md
+++ b/content/about/timeline.md
@@ -13,7 +13,7 @@ Spoilers for the Post-Self Cycle itself are marked as such: RJ Brewster, leads to a breakthrough and, shortly after, the foundation of the System.
2117 --- ???
-* Michelle Hadje and Debarre pool their money to upload.
+: Michelle Hadje and Debarre pool their money to upload.
2124 --- January 1
: Systime set at year zero, day zero in order to help manage the reputation market.
diff --git a/content/about/universe.md b/content/about/universe.md
index 1802976..f73e13b 100644
--- a/content/about/universe.md
+++ b/content/about/universe.md
@@ -30,6 +30,10 @@ While the climate has continued to suffer, with temperatures slowing to a linear
Earth is described as a 'shithole'. Global warming has proceeded to the pace where much of the population below a certain latitude lives below-ground, though many have simply moved towards the poles. Air quality is...not great, and many spend as much time as possible on the 'net in sims, with children getting implants at around 5 years old, though the minimum upload age remains 18.
+### Late 2300s
+
+Thanks to the sudden influx of information from Artemis, efforts to control the ongoing climate disaster gain traction and thus success, leading to the increasing global temperatures stalling and massive success with the ocean deacidification projects in the mid 2700s. This in turn leads to a slight slowing in the rate of new uploads.
+
## The System
Created in the early 2100s, the System (a vague name to keep the original project secret, though one which stuck around) allows for uploaded consciousnesses to live functionally immortal lives.
@@ -122,6 +126,6 @@ As with any social system, conflict happens. People don't like each other. They
“Fucking stop! You cannot–”
-The one exception to being killed on the System is through a subtle virus which will crash one's instance. This virus must be tailored to the individual it's meant for and is not trivial to produce, so instances of such death are rare. It's most commonly associated with symbolic objects such as syringes or knives rather than poison; as always, having the symbol be recognized as one that can cause damage is often part of the process.
+The one exception to being killed on the System is through a subtle virus known as a contraproprioceptive virus (or CPV) which will crash one's instance. This virus must be tailored to the individual it's meant for and is not trivial to produce, so instances of such death are rare. It's most commonly associated with symbolic objects such as syringes or knives rather than poison; as always, having the symbol be recognized as one that can cause damage is often part of the process.
diff --git a/content/about/writing.md b/content/about/writing.md
new file mode 100644
index 0000000..14a633e
--- /dev/null
+++ b/content/about/writing.md
@@ -0,0 +1,68 @@
+---
+title: Writing in the Post-Self Universe
+---
+
+So you've gone and read [the Post-Self cycle](/cycle) stories, checked out [*Clade*](https://clade.post-self.ink), read up on the [setting](/about/universe) and [timeline](/about/timeline), maybe even taken a peek at some of the [extras](/extras). Are you interested in creating canon material for the Post-Self universe? Wonderful! The setting is open to allow for exploration of topics that are important to all. Here are some guidelines for creating works to be incorporated into the canon.
+
+The Lost
+:
+ During 2112, hundreds of individuals wound up trapped within the implants they used to interact with the immersive portions of the Internet, thanks to a virus triggered by elements of the Western Federation. These individuals, known as *the lost*, were left changed once they were pulled back to reality.
+
+ * *Each subjective experience is unique* — While RJ and Michelle's experiences were detailed in *Qoheleth*, the experience of each of the lost was unique while embedded. There are some shared features, such as a dreamlike quality to their time spent in there and a sense of it being an eternity within that dream, as well as complete solitude. Beyond that, what they actually see, hear, touch, and so on within that experience is unique
+ * *There are permanent effects* — All of the lost were left changed by what they experienced while trapped. As stated, all of their experiences are unique, but there are some shared features:
+ * Language: due to the strange way in which language works within our dreams, each of the lost experiences a unique relationship with language after being pulled back. RJ, for instance, is left with a helpless compulsion to speak lines of poetry, while Michelle and the Odists were left with an allergy to using contractions and a somewhat topsy-turvy engagement with grammar.
+ * Between dreaming and waking: the boundary between the conscious and subconscious within the lost is thinner, with the logic of dreams tending to linger with them. They may feel confusion in engaging with the waking world, a desire to return to the dream experience, or even difficulty interacting with a world bound by rules that dreams ignore.
+ * *All of those who didn't die uploaded* — Of those who were lost, many committed suicide within the years between 2112. Of those who did not, all uploaded within the first years of the System's creation.
+
+The System
+:
+ Most of the stories within the setting take place in the world of uploaded consciousnesses known colloquially as 'the System'.
+
+ * *The key mechanics* — The key mechanics of the System (forking and merging, exocortices, the perisystem architecture, sensoria, cones of silence, the relative perfection of memory, etc) are known by all of the inhabitants via their introductory orientation when they are first uploaded. The same is not necessarily true phys-side, where many hold grand (and sometimes dangerous) views of what life must be like on the System.
+ * *True anarchy* — The society aboard Lagrange, Castor, and Pollux borders on a true anarchy. While there are some efforts to steer the general track of the society, they tend toward maintaining that anarchy rather than enforcing any core rule. Even the two specified organizations who poke at this, The Council of Eight in the System's early days and The Guiding Council on the Pollux launch vehicle, in theory act only as advisory bodies. The Guiding Council does take a far more governance-oriented role near the end of the 2300s.
+ * *A collection of varied societies* — Homogeneity is impossible in a System full of, by 2400, more than two trillion people. After all, should one build up a shared set of ideals, one might as well congregate with like-minded people. A set of linked Jesuit sims? Climate activist groups? Furry nightclubs? The answer is yes.
+ * *A species divided* — Life phys-side back on Earth continues much as it has. While climate change continues to wreak havoc, people still live out their lives reading, writing, loving, hating, cooking shitting breakfasts for each other. Death remains a constant, life remains something to cling to. Many upload, of course, perhaps leaning on the subsidies offered by governments, but many do not.
+
+The Launch
+:
+ In 2325, two separate, smaller copies of the System were launched, sent in either direction across the orbital plane. Castor and Pollux quickly made their way away from Earth while the L5 System — now called Lagrange — remained behind.
+
+ * *Three Systems* — One consequence of having these three Systems moving forward is that they quickly began to diverge. This was not just accounted for but, for many, an explicit goal. After two decades, Pollux began to loosen some of its social strictures and gained a leading body in the Guiding Council while Castor maintained much of the status quo until the arrival of the Artemisians.
+ * *Transmission delay* — With the high speed of the two LVs (nearly 1,400 kilometers per second), the transmission delay between Castor and Pollux and Lagrange quickly grows so that, by 2400, a message sent from Castor would arrive at Lagrange nearly four months later.
+
+Artemis
+:
+ First contact happened in 2346 when a new vehicle containing uploaded consciousnesses contacted Castor, one of the two launch vehicles sent out in 2325. Dubbed Artemis, several of the Artemisians wound up joining Castor on its journey, while several from Castor joined the Artemisians.
+
+ * *Four new races, one new System* — Four separate uploaded races live aboard Artemis, each picked up as the vehicle passed by a planetary system with an uploaded population. After convergence, humanity joined as fifthrace as many on Castor uploaded to Artemis.
+ * *Convergence* — When Artemis made contact, there was an exchange of emissaries between the two Systems. The result of these meetings was the joining of the five races, known as convergence. Artemisians were allowed to upload to Castor to remain in a restricted zone of the System, also known as Convergence. Anyone who wished to join from the rest of Castor was allowed as well. Similarly, anyone from Castor was allowed to join the Artemisians aboard their craft in turn.
+ * *Skew* — Rather than having forking as an available mechanic, those who live on Artemis may individually skew their engagement with time. That is, one may skew positive so that they exist within the system at a faster rate than common time.
+ * *The Council of Ten* — Two representatives per race aboard Artemis were selected to act as part of a mediating and guiding body. While often described as purely a group to provide assistance and mediation, it's suggested that they also gently govern the races aboard without explicitly acknowledging such. This is echoed in Convergence, the location aboard the LV Castor where several Artemisians remain behind, though this remains a far more anarchic mediating body.
+
+## The world is built for this
+
+Queerness
+: The Post-Self setting is aggressively and explicitly queer. This is a place to explore identity through romance — monogamous and polyamorous — gender, species, plurality, anything. If it can be queered, please queer it! The System makes an attractive target for queer identities, after all. Does a trans character transition further sys-side, or do they revel in that identity? Perhaps a plural character experiments with forking out singular identities, perhaps not. The setting is ripe for metafurry exploration — that is, furries themselves who upload and get to live their lives as their fursonas. The society is far, far more accepting of queer identities than today's, even phys-side.
+
+Neurodivergence
+: As neurodivergence follows one along after uploading, this is an area ripe for exploration, whether that means finding ways to fork it away or finding ways to revel in it as an integral part of oneself.
+
+Climate crisis
+: One big draw to the System is getting away from the worsening climate back on Earth. Even after it starts to level out (and even improve) after about 2350, the System offers greener grass. There are many stories to be told there.
+
+The bittersweet
+: Uploading is one-way and destructive. There is a loss behind every upload. The System itself is built on the backs of the lost. Climate grief remains a real issue. Finding ways to deal with grief and yet find the sweet in one's new life is part and parcel of the setting.
+
+Self-inserts
+: Imagine yourself in a world you could come to love. An open universe invites you to imagine what you — yes, you! — might do with such a setting just as much as it invites you to create new characters of your own or use those of others (with permission!). The concept of a 'Mary Sue' is a toxic remnant of machismo in geek spaces and should not prevent you from exploring a lovely existence for yourself.
+
+## Reconsider before writing this
+
+Violence
+: While there is some violence in the System, and obviously things remain somewhat difficult back phys-side, the core of the conflict should not boil down to or result in wanton violence. The goal is not to write of wars — political, ideological, religious, or turf — nor of punchy shooty explosiony action as the guiding plot-point. There are plenty fine settings for this; Post-Self simply is not one of them.
+
+Bigotry
+: There are some taboos that remain, such as the one surrounding intraclade relationships (until about 2355), but there is little need to overcome adversity over identity sys-side. Explore these identities, yes. Explore the lingering effects of bigotry experienced phys-side, but there are stories of personal fulfillment to be had without necessarily focusing on these particular struggles. Actual transphobia, homophobia, racism, etc. on behalf of the authors is unwelcome and will be denounced.
+
+Using other people's characters without asking
+: Try not to use other people's characters — even open clades such as the Ode clade — without asking. While many will say yes, this will have the added benefit of you being able to write more closely to the author's vision, as they will often have paracanon to share. Additionally, in some cases, these characters feature in the noemata of several individuals' headmates or personalities, and it's worth avoiding trampling on identities!
diff --git a/content/cycle.md b/content/cycle.md
index 64c7ad6..b6c639c 100644
--- a/content/cycle.md
+++ b/content/cycle.md
@@ -66,3 +66,15 @@ Even the grandest of stories can feel small and immediate when it's just one per
One of the most well-known names from one of the most well-known clades on the System, the avatar of political machinations and cool confidence, has been brought low. With help coming only from Ioan Bălan and the most grudging of support from her cocladists, all True Name has left to save herself is the ability to change.
Features the bonus novella *Selected Letters*.
+
+## Bonus Novella: [Motes Played](https://motes-played.post-self.ink)
+
+Motes played.
+
+She played because she was play. She played because that was her role in life, because that is just who she was. She played with color, played with life, played with death.
+
+She played with fire.
+
+Motes played, because how could she not?
+
+***Coming soon!***
diff --git a/content/extras/_index.md b/content/extras/_index.md
index ae1c82b..a4b7171 100644
--- a/content/extras/_index.md
+++ b/content/extras/_index.md
@@ -3,24 +3,58 @@ title: Extras
layout: single
---
-## Extra Stories
+
-* ["Assignment"](assignment): Ioan Bălan — 2273
-* ["Meeting of One"](meeting-of-one): Ioan Bălan — 2309
-* ["How to Upload Your Consciousness to Physical Infrastructure Using Docker Compose"](https://www.digitalocean.com/community/tutorials/how-to-upload-your-consciousness-to-physical-infrastructure-using-docker-compose) (Non-canonical but heavily influenced 'tutorial' written for April Fool's Day 2022)
+## Additional writing
-## Soundtracks
+[Post-Self stories](/stories)
+: Stories of all sorts written by members of the Post-Self community.
-Each book within the Post-Self Cycle, as well as many of the other stories in the setting, was written with a song or playlist running on repeat — at least for the most part. Just a little something that helped the author set the mood. While these are hardly required to enjoy the writing, they're offered as a curiosity.
+[In-Character asks](ic-asks)
+: *Authors include [@makyo](https://cohost.org/makyo), [@hamratza](https://cohost.org/hamratza), and [@CERESUltra](https://cohost.org/CERESUltra).*
+
+ Questions asked of various Post-Self characters, answered by the characters themselves.
+
+### Other, sillier things
+
+["How to Upload Your Consciousness to Physical Infrastructure Using Docker Compose"](https://www.digitalocean.com/community/tutorials/how-to-upload-your-consciousness-to-physical-infrastructure-using-docker-compose)
+: *Madison Scott-Clary*
+
+ Non-canonical but heavily influenced 'tutorial' written for April Fool's Day 2022
+
+## Materials
+
+[Nanon](nanon)
+: The constructed language spoken by the Artemisians.
+
+[Music](music)
+: Music that inspired or was inspired by Post-Self
-* [*Qoheleth and Gallery Exhibition*](https://open.spotify.com/playlist/5zRXvPUVxSuGjpzVu4N2Qw?si=8e5bdf5d974a4487) (Spotify)
-* [*Toledot*](https://open.spotify.com/playlist/0irVoAkYEVR7LBrI9M1q5Z?si=1525f4d1b2c24195) (Spotify)
-* [*Nevi'im*](https://open.spotify.com/playlist/5WqgcXtf6aIElLvwUskvAH?si=b6c7f22427044416) (Spotify)
-* [*Mitzvot*](https://open.spotify.com/playlist/57ltPyWR4rRB65MHabWxVA?si=af174d0a468442e5) (Spotify)
-* ["Selected Letters"](https://open.spotify.com/playlist/1QvvLpL09kGQMZnTstUD4f?si=b7637a76d39d43f7)
-* ["She Who Haunts the Storm"](https://www.youtube.com/watch?v=1lTYPvArbGo) (YouTube)
-* "Cowboy" - [1](https://open.spotify.com/track/62qiyZxpfg6wEIV6S5PE9y?si=1a6179b30b064d5a) (Spotify), [2](https://open.spotify.com/track/0HoaLXRp7jJtdQFunUyUGc?si=9ee056fef66e491c) (Spotify)
-* ["Support Group for Anomalies in Forking"](https://youtu.be/J0taTmgq3qw) (YouTube)
## The Post-Anthropocene
diff --git a/content/extras/calls/marsh-anthology.md b/content/extras/calls/marsh-anthology.md
new file mode 100644
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+---
+title: Call for submissions — Marsh anthology stories
+---
+
+One of the stretch goals for [the *Marsh* Kickstarter](https://www.kickstarter.com/projects/drabmakyo/marsh) is to fund additional short stories surrounding the events of [*Marsh*](https://marsh.post-self.ink) written by authors interested in the Post-Self setting. These stories will be included alongside *Marsh* or in a separate volume, depending on the response.
+
+To that end, I am soliciting stories surrounding the sudden downtime and disappearance of cladists across Lagrange on New Year's Eve, 2399.
+
+### The Details
+
+Word count
+: Approximately 2,000–5,000 (please ask if you are planning on writing more; I will likely say yes!)
+
+Payment
+: Flat fee of $50+[^1] and a copy of the book if accepted for print. All stories, regardless of whether they are accepted, are eligible to be included on the site as canon so long as everyone agrees.
+
+Submission format
+: MS Word, LibreOffice, or Google Docs — basically, anything I can comment on. If you want to submit LaTeX or Markdown, good on ya~
+
+Submission Deadline
+: Soft deadline: April 30, 2024 / Hard deadline: May 31, 2024
+
+Estimated publication date
+: August 1, 2024
+
+Please include
+: Your story and a short author bio
+
+Please read
+: The [What is Post-Self?](https://wiki.post-self.ink/wiki/What_is_Post-Self%3F) page, the [writing guide](https://wiki.post-self.ink/wiki/Writing_guide), and at least [the synopsis of *Marsh*](/extras/summaries). I will also provide the current draft of the book if you get in touch.
+
+Consider joining
+: Either the Post-Self [Telegram Group](https://makyo.io/ps-telegram) or [Discord](https://makyo.io/ps-discord)
+
+Submit by
+: DMing on either of the above platforms or by emailing
+
+[^1]: The Kickstarter left a larger pool of money, which will be split evenly among authors.
diff --git a/content/extras/ic-asks.md b/content/extras/ic-asks.md
new file mode 100644
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+++ b/content/extras/ic-asks.md
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+---
+title: In-Character asks
+---
+
+
+
+On cohost, readers are encouraged to [submit questions](https://cohost.org/post-self/ask) to the various characters within the Post-Self setting, whether to the Odists, or to the wide variety of characters across all five books. These questions are answered by the characters themselves, with the authors of the answers provided along with them. These are collected here in one spot for easy reading, and this will be updated as questions are answered.
+
+*Last update: September 12, 2023*
+
+-----
+
+
Expect spoilers ahead for all Post-Self books.
+
+## On Identity
+
+> You mentioned on the server how Michelle "had her own gender-play" in the form of a breast reduction. What does this tell us about her particular gender experience phys-side? How does it relate to her orientation or her string of unsuccessful relationships? How are these things reflected or subverted in the Odists?
+
+Hold My Name Beneath Your Tongue And Know
+
+Michelle had a long string of unfruitful, short, abusive, and otherwise quite boring relationships back phys-side. She (for I do not call myself her anymore; she was her own person, just as I am) struggled with that, and that was actually the origin of her picking a skunk as her fursona. She said that she liked the aposematic stripes. "Stay away," they said. "I am not for you to bother."
+
+Similarly, at one point she started to question just how much of her body was involved in how she was treated by her partners. She liked it okay, to be clear. She was chubby. She was short. She was cute! I remember her thinking that. There were times that she wished she was skinnier, yes, but most of the time? She felt okay.
+
+Still, when she did worry about her body, it was particularly in how it played into her interactions with romance. She liked being cute, and wanted to be seen as cute, but did not particularly like the way that that played out for her. After a bit, she sought out a reduction. It was not expensive, nor was it difficult to achieve: a consult, a counseling session, and then a surgery, all in the span of a month.
+
+The end result was not quite what she expected. It was not just that she was relieved of back pain — though she was — nor that she was treated differently with regards to her body — though that was also true — but that she was *happier.* She did not experience gender dysphoria, in other words, but after this change, she experienced gender euphoria. It was then that she cut her hair shorter and changed the way that she dressed. It was then that she decided to stick with skunk, owning it as a view of herself rather than simply as a response to some dick in a furry sim that she then met in person.
+
+All of us in her clade have carried over that euphoria in some form or another. Perhaps it is in the ways in which they look. Perhaps it is in the pronouns that they use (several use ey/em pronouns as another little tribute). We are all queer, in our own ways, and for some of us more than others, that queerness surrounds gender. I am a nonbinary trans woman. E.W. is a man. Dear's answer to the question of "What is your gender?" is "You are asking the wrong question."
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> Hold my Name—
+>
+> You fascinate me, my dear. Bucking the gender conventions of our stanza, when did you decide? Did you know early? Gradual? Was it a snap or a well-reasoned, systematic approach? I took the torch from our down-tree instance, giving meaning to it I will never be sure he did, but where I chose to embrace and embody the decision of the deceased with gusto, you outpunked me and doubled back against it, subverting it with vigor.
+>
+> Your transness awes me. To so vibrantly exude your double-transness that is not contrary to my singular transness, but complementary, gives me not quite pause, but curiosity. Differently from my darling Jack you carry it as well. I have missed many an opportunity to talk to you directly, so let us fix that, yes? You can talk about it, yes? At length, yes?
+>
+> You mythologize, I report. You elevate gender into allegory, I pull it down to investigate it closely. We should be contradictory, but we are uncontradictory, both storytellers but straddling a line of fiction, tangling our whiskers in the same veil from opposite ends.
+>
+> Solidarity,
+> —Deny All Beginnings
+
+Hold My Name Beneath Your Tongue And Know
+
+It is *always* lovely to hear from you! Despite some of my misgivings about our down-tree instance that I have maintained over the years, there is something to be said about the lives that we have inherited, is there not? He decided nearly on a whim to head towards a specific image of some professor of history — we are nothing if not ourselves, we are nothing if not theatricians — and thus all of us forks of his wound up by default in a similar situation. It is all well and good for some to lean into that dramatic angle. I know that Teeth Of Death maintains that gender out of that particular mood. For others, it proved to be dysphoric, and The Living Know has gone back to the Michelle of our past.
+
+I considered that, myself. Did you know that? Know Nothing lingers still in masculinity out of sheer absentmindedness, but it was my study of the past through the lens of specifically trickster personalities that brought me up against a deliberate approach to identity.
+
+My original reasoning for delving into this study was as a task for the eighth stanza, for True Name and her ilk. Was there anything they could gain from the attitude of a trickster? Were there any warnings they could draw from unsuccessful attempts of trickster gods? Coyote for a while became a favorite of mine.
+
+One thing that I discovered as nearly a universal flexibility of form, and so I began to play around with that as well. I spent some time as a coyote, of course — non-anthro, mind, a little talking troubledog — as well as a monkey, an imagining of Eris (I still keep a golden apple pendant on me), and so on.
+
+It was this play that was the beginning of such feelings. This play became important to me, not least because of my relationship with Warmth and her friendship with Motes. Motes is a dear, of course, but her focus is *specifically* on play, and so I took a cue from her, and began to play not just with form but identity.
+
+Was I tall? Was I masculine? Was I a scholar? Was I a nerd? What was I? What *was* I?
+
+I spent a year after that as Michelle but...ah, why did that rankle? What was it about this form that was not *quite* right?
+
+We had those strange feelings of gender euphoria after the reduction, did we not? There was *something* there. There was this feeling of Not Just Woman, perhaps demiwoman, but even that was not quite right.
+
+Over time, it began to feel like I was still...kind of a man. I was not *not* a man. But also I was most certainly *not* one, either. I languished...
+
+I languished until I was invited to a weird hyperformal event, one of Rye's book releases. We all grumbled about it for our own reasons. It was all well and good to dress up in a suit, but a *tux?* Fuck that. Warmth dressed in its best mixture of clothes, something that shifted slowly over time between masculine and feminine, and yet those in attendance addressed em as almost exclusively 'she', and partway through, they pulled me aside to have a little grumbly bitch session. Motes came with — and at this point in our history, she had not openly leaned into kidcore in public at the suggestion of In Dreams and A Finger Pointing — and, at one point, burst into tears. She had dressed up in a pencil skirt and fine blouse, and it was making her absolutely miserable.
+
+As we comforted her, four or five Warmths surrounding her while I pet her ears, we all three of us got to talking about identity and the ways in which appearance and social situations ground up against that. Warmth wanted– no, *needed* that recognition of fluidity that night. Motes increasingly needed out of this strict adherence to form.
+
+But what of me? We came to no conclusions in that moment.
+
+It was not until later that night, Warmth wrapped up in my arms while we talked, that the idea of transition popped fully formed into my head. It landed on my shoulders and dug in its claws. It whispered in my ear of gender, of queerness. of identity.
+
+What the fuck did that mean for me, though? The me who is still Michelle Hadje is cisfeminine (mostly; the breast reduction, as mentioned, came with its own sense of gender play). Would me transitioning towards feminine be...I do not know, some sort of appropriation? Certainly I have been accused of that before (including by myself).
+
+And yet little enough of me feels like Michelle anymore. What of the portion that remains my downtrees? They remain (or, well, remained) masculine. Despite misgivings, they inhabited that gender, so, sure, I could transition, but what did that mean sys-side? There is no need for hormone replacement therapy, no need for surgery.
+
+I am eternally grateful that there is no shortage of trans folks on the System who remain explicitly trans. This has led to group of very tight friends, all of whom uploaded early in the System's history who all are working to transition inexactly. We do not want to just...be women (and while we are all transfeminine, there are several groups of transmasc folks as well; we are simply leaning into our own goals). We want to be *trans* women. It *hurts* to be called a woman. It *aches* when someone close to me says, "I just see you as a woman."
+
+It was a spur of the moment leap into one of the most deliberate things I have ever done in my life, and that life has been long. I cannot even begin to compress it into a letter. You and Jack should come over! I will rope Warmth into making something lovely, and hell, if you want to turn it into a whole-ass party, well, I know some skunks.
+
+
+-----
+
+> Skunklet—
+>
+> How did you come to be so small? I am very unsmall, and I have never experienced being truly short. What joy do you find down there among the dandelions and shrubs?
+>
+> —Solidarity
+> Denny
+
+And We Are The Motes In The Stage-Lights
+
+'Down there'? *'Down there'?!* Why I oughta...
+
+But in reality, it is nice being small! It kind of sucks when you need to run everywhere but your legs are too short, and there are times when I wish I was not relegated to climbing up on the counters to reach stuff — which is rarely! I can reach most things! — but it is all about the ways in which others treat you, yes? The troupe treats me like my raison d'être is to have fun, and they are right to do so. I can sit in laps! I can fit in small places! I can act like a frickin' kid and the automatic reaction of everyone around me is to just accept it. It is really affirming when the things you want out of life all boil down to the hedonism of play.
+
+My tail gets stepped on, I get kicked out of places for being too small, I get sneered at for doing some unspecified horrible thing — seriously, I have asked, and it is all bluster with no basis when someone gets fussy about the aesthetic — and it is all absolutely still worth it for the joy inherent in life down here among the dandelions and shrubs.
+
+
+-----
+
+> Do you think it is possible to know others better than one knows themself? Is truly knowing anybody to that level even possible?
+
+Hold My Name Beneath Your Tongue And Know
+
+Given the circuitous path I have taken with my own identity and how long it took me to figure out just why that fit so well, and given the rolling of eyes that I received when I told my down-tree instance But The Dead Know Nothing, I think I ought to say that it is most certainly possible for others to know one better than one knows oneself, even if only on the level of a microcosm.
+
+"I think I am transgender," I said, and she laughed in my face. She laughed!
+
+"Oh, honey," she said. "I am quite pleased that you have caught up at last."
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> alright Dear, what are your thoughts about the impermanence of self, meaning as even as we are ourselves we are changing and mutating away from what we are in the moment every minute of every day?
+
+Dear, Also, The Tree That Was Felled
+
+*I have found myself confronted with this as part of my very existence. I dance my dance of instance art and, in the process, it is that very individuation that becomes the core mechanic of the art. The word 'mechanic' is less than ideal, but it is what we have to lean on: yes, it is impressive when one forks smoothly or can lean creatively on the mutation algorithms, but the truly artistic aspect is putting a fine point on the ways in which we change on an hour-by-hour, minute-by-minute, second-by-second basis.*
+
+*Back in systime 59 (2183 by the old calendar), one of my first true exhibitions was a gala of sorts. I rented out a large ballroom and invited 50 individuals to join me in their finest for an evening of dances and delights. However, they were not to dance with each other, they were to dance with me. I forked 50 times over leaving fifty fennecs (well, 51, as one of me was left as the emcee for the evening) and we began dancing to all sorts of lovely music from throughout the centuries.*
+
+*However, one by one, my instances began to quit. It was no quiet affair. They quit with looks of agony, with yelps of fear, with wide eyes and trembling paws. The more instances that quit, the more anxious the remaining instances became. One by one, their number dwindled, until there was only one remaining, sobbing and pleading to remain, to not be annihilated. And then it, too, quit with a shriek.*
+
+*It was, of course, an act. Quitting does not feel like anything. There is no pain, no fear, certainly no anxiety in an instance artist such as myself. However, it did put a fine point on the absurdity of our condition, that these instances were no longer me, that that they changed with every step of their ballroom dance.*
+
+*That final instance was dancing with a member of my own clade: Time Is A Finger Pointing At Itself. I went into the exhibition with little plan as to who would be the final dancer. It had little to do with their skill (though our dear Pointillist was a fine dancer in her own right), and more to do with how they were reacting to this play of self. Would I lean into someone who shared in the foxes' terror? Would I lean into someone who expressed joy at the dance that I had set up? In the end, I leaned into an actor — A Finger Pointing runs a theatre company, made up mostly of members of her own stanza — who adopted an almost villainous aspect. She danced with a serene smile, even as that final dancer dissolved into tears, ending the song with a flourish of a bow even as it cried out in agony.*
+
+*Another reason that I chose her is that she correctly divined that I would not be merging the experiences of my up-tree instances back into myself as the emcee. It was not something that any of the guests needed to know. It was a private joke between all 51 of me. It was a way for me to be the audience as well. After all, did the other dancers not have access to my internal thoughts? Why, then, should I be any different?*
+
+*She, however, saw right through me, because of course she did. She is an inveterate actor! She is the manager of a troupe of actors! She picked her part and played it, and turned it into a show even for little old Dear.*
+
+*In our discussion afterward, we lingered long on this selfdom-as-play. "Sometimes I send a fork to a party I would really rather participate in myself, and when she returns with all those lovely experiences freshly welling up in her I think they belong to her," she said. "It is less about willful individuation and more about.. how every fork is an individual."*
+
+*To prove her point, she forked and then, on a whim, pulled this new fork over until she stumbled and slumped against her, laughing. She explained, "Here she is caught completely off her guard because I did not intend to surprise her until just now. She is different from me!"*
+
+*It is all very Heraclitus, is it not? He was the one who said that no man crosses the same river twice, because the river has changed minute-to-minute, second-to-second, as does the man. It was Weinberger who said that no one ever reads the same poem twice, because by reading the poem, the reader is changed: "Every reading of every poem, regardless of language, is an act of translation: translation into the reader's intellectual and emotional life. As no individual reader remains the same, each reading becomes a different — not merely another — reading."*
+
+*These are the things I think about when I think about the impermanence of the self, which is always.*
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> How does the drastic mutability of one's form on the System interact with being trans? How has this affected the language cladists use to discuss gender? What does it mean to be trans in a world in which your sex can be modified on a whim to accomodate your needs?
+
+To Deny The End, Is To Deny All Beginnings
+
+How, indeed, do we define transness at all? Do pronouns precede the flesh? Does being trans require the body to change, or the mind? Does what one's body or identity was before uploading define what it is after?
+
+By the "traditional" definition, a dated concept even by the time we uploaded, I am transmasculine, because the root of our clade was mostly a cis woman and I am masculine. It might be argued that most of my stanza is one way or another, since most of us use he/him pronouns. I changed my physical appearance, my clothes, my mannerisms, my everything. I am defined by what Michelle Hadje mostly was not. Some used to define transgender as a struggle, against the body, against societal expectations, against laws political or religious, against a role foisted upon us.
+
+But it cost me nothing. If there is any remnant of a previous feminine self on me or in me, it was a conscious choice to keep. One can change everything about themselves at a whim, and the only obstacle is the memory of one's self. There are no rules, no fretting over surgeries, wardrobes, paperwork, no pressure against change.
+
+It seems to me, then, that the *concept* of transgender must change, not just the language we use to speak of it. Asked about its gender, one of my distant cocladists irritatingly yet predictably answered *"You are asking the wrong question*". Loathe as I am to admit such, Dear, Also, The Tree That Was Felled was right. What gender means and is to the Ode clade alone varies wildly, never mind the trends of Lagrange or Castor or Pollux overall. We cannot define "trans" as an identity on changing gender alone any more, or to do so is not useful in the present.
+
+I spent weeks thinking on Dear's answer, and if the question of someone's gender was the wrong one, what *should* I be asking? I came up with an idea: I put out into the System an anonymous survey, asking a variety of questions on gender and personal history, with an offer of a generous amount of rep for participating. The response was immense, and I had to rope a few friends and cocladists to help me collate the findings.
+
+The results were varied, but two trends stuck out to me:
+1. A great deal of furry or non-human respondents specified species or classification as a gender, such as "my gender is wolf" or "I identify as a catgirl", "I am a machine" etc. One entry, which I cannot decide if it is satire but *must* mention, said "I identify as a forklift and I will only date those who are forklift certified." For many of these respondents, there was no line between species and gender at all, or terms were oft-conflated, and they spoke about changing species with the same language and framing as transitioning genders. Throughout the 20th century onward, gender was discussed frequently in terms of roles, and is not species a role? Does it not come with expectations? Require performance? It should not have surprised me, but it did.
+2. Regardless of species or gender or any number of factors, an astounding number of respondents who had transitioned in some form or another *did not think of themselves or identify as trans*. The pattern was largest in those who uploaded and cited dysphoria as a motivation, but the data was present in every demographic. In the vast majority of these cases, the individual in question forked until they had an appearance they were comfortable with, then settled into their life, never going back or changing all that much. More than a few seemed unfamiliar with terms such as trans or cis at all.
+
+I was unsure what to make of my findings. I had sought out to find a question, but only found the answers to it. *Why ask questions, when the answers will not help?* An answer, be it simple or complex, is not on its own enough for one to divine the question asked. I needed a shift in perspective, some other angle to view, to find the edge pieces of the puzzle. After days of thinking and overthinking, I finally thought to ask others. Just as I had been set upon this path by dear old Dear, I needed the perspective of someone else to point me to the trail again.
+
+Among those who helped me with the survey was a badger from another clade named Jack, an investigative journalist who had aided me with research in the past. I asked if either of these trends were as surprising for him. He told me they made sense, since they both applied to his clade.
+
+Naturally this excited me. "How so?"
+
+"Well, your clade's half humans and half skunks, right?"
+
+ "I do not have exact percentages, but—"
+
+ He raised a paw. "Hey, this ain't rocket science, pal. Let's say half of you got stripes, half of you don't, give or take a fox or two. And like you said, it's complicated. Your clade clearly has some feelings on species, and I'm guessing your root instance couldn't make up their mind about it?"
+
+It is a difficult subject matter at the best of times, but I didn't want to digress too far. I told him, "It might be more accurate to say she was of two minds about."
+
+He smiled affably. "Plurality problems, say no more, say no more, I get it."
+
+"Plurality?" I asked him. Even then I did not understand the word or the way it, too, changed radically within the System. I understand it now, and I wonder how my cocladists think about the term and how, at least I feel, it applies to us Odists.
+
+He frowned with concern, studying me. He must have seen that concern mirrored in me, and quickly returned to the matter at hand. Or, well, paw, in his case, as he gesticulated with it. "Enh, fuhgeddaboudit. Not important. What I'm getting at, my man, is that part of your and your clade's identities *is* that conflict. It's affected all of you greatly, no matter where you end up."
+
+"And how does this relate to your clade?" I asked.
+
+He grinned, and leaned back on the table covered in survey results, crossing one leg over the other. "Not a single member of my clade was ever human."
+
+"So your Root Instance switched at the first fork?"
+
+He nodded his head and waggled a claw up and down at us. "There's the first thing you're missing, my friend. I pick my words carefully. What did I say?"
+
+I frowned. "You said your clade does not contain any humans."
+
+"My *exact* words were *Not a single member of my clade was ever human.* We were not human before uploading, either."
+
+"That is not possible," I said.
+
+"If you will allow me a bit of conjecture here without digging too deep, I would guess that your root instance was a furry before uploading, and had some experience with being their fursona in Sims before uploading? And, if I may, being online as an animal and offline as a human contributed to their troubles over species identity?" I doubt I concealed the rising panic in me very well, because immediately he threw up both paws. "I can see I have hit a nerve, and I'm being reductive with the Odists here. It's a lot more than that and I don't know the half of it, but I'm trying to keep it easy. My point is, those experiences and differences in Proprioception can mess with your self-image, especially if those 'animal' sensations feel more natural than your 'human' ones. I'm sure you see where this is going."
+
+And I did. His clade had no attachments to the feelings and shape of the human body, and that predated their upload. As long as those feelings had existed, they had never thought of themselves as 'human', and in the infinite mutability of the System, they never had to be one again. What did it matter to anyone if they had looked human externally before? The odds of running into anyone from pre-upload days are incredibly low without active coordination beforehand, and if, as with Jack's clade, they had changed species and names in their first hours sys-side, they would be impossible to recognize anyway. Why carry such a useless distinction with you?
+
+"Attaboy, atttaboy! He's gettin' it! And for my Clade, those good good animal feels came up before we ever touched a sim. I can chase them back as far as our memories go phys-side. Hell, when I try to remember how I looked back then, I can't even remember what the 'human' body looked like. I don't look like I do now in those memories, but I am 100% grade-A prime cut badger, baybee, you love to see it. Asked around the Clade and they all say the same. They can't remember us being human-shaped. If the System won't let us forget anything, that should tell you how far back this all goes."
+
+ I stepped over next to him, and looked out over all the surveys. Most of us had viewed them on tablets or screens, but Jack told me he had picked up the habit of physical paper from one of his cocladists, one who worked as an archivist. He said fighting with the pages and having to interact with them directly helped him spot trends, catch patterns as they emerged. I did not understand how he meant that when the survey started. I was close to getting it in that moment. The question, too, that I was seeking grew closer. I could taste it, smell it.
+
+I said to him, "Part of me thought that the framing of 'I always knew' was too reductive, a stereotype, something made easy and palatable for those who are not queer. We definitely knew a few people phys-side who said as much. Reframing it with species makes me realize I in turn reduced it. If that is how any individual sees themselves, who am I to question it? How can anyone?"
+
+He nodded. "Feel like you're closer to finding your question?"
+
+I scowled. "Oh, absolutely fucking not."
+
+He laughed, and clapped a paw on my shoulder. "Well, can't win 'em all, kid." He waved an arm out over the table. "We got ourselves a banquet of food for thought and we gotta sit down and digest."
+
+We sorted responses for a while, and he smiled every time he caught me looking at him. After a while, the focus shifted from organizing by data points alone, and instead we began to group responses by what was most compelling in them. I felt in so many ways a fool. Some questions were really only redundancies, others useless, and I could feel the weight of the questions that needed to be in their place. I thought about what my responses would have been, but the silence of the room crept under my skin and I had to break it back out.
+
+"Did you fill out the survey?" I asked him.
+
+He shook his head. "I passed it around my clade, and one of these" —he held up a survey response— "is definitely a cocladist of mine, she's hard to miss, but enh."
+
+I dropped my stack of results, half of them missing the lip of the table and scattering to the floor. "What the fuck do you mean, 'enh’?"
+
+He shrugged. "Enh, I mean enh. I got plenty of rep, I didn't have much to say."
+
+"Oh, bullshit. You are not the coy type, that is an Odist thing." Why was I so angry? Why did this matter to me? I know now, but in the moment a part of me stood removed from all of this, a phantom fork not really there in the dark corners of the room, spectating, and he could not understand my sudden ire."Why, Mr. Haveck? Why did you not fill it out?"
+
+He wheeled around on me. "Don't call me Mr. Haveck again. Don't you dare. Call me Jack, or if you must, call me Haveck, but if you throw those two letters in front again I will walk out."
+
+I stepped closer to him. Jack is not a tall badger, but my having almost a foot and a half on him meant nothing. When you chase stories the way he does, someone taking a swing is expected. He will not swing back or defend himself physically, but his pacifism makes him like stone. Still, I could not let this go. "Answer the question, Jack."
+
+"Why's it such a big fuckin' deal if I didn't?"
+
+"You literally never shut up. You have made a living out of having something to say. I only know you because you talk so much. You spent this whole afternoon explaining shit to me. Your choice of species is goddamn perfect because like any good journalist you badger the *shit* out of anyone who will listen and most of the people who will not. You *talk*, you *rant*, you *pontificate*, you *lecture*, and you *state the facts*." I was shaking. "You-You-You put on this whole fucking persona, the New York accent, the Spider Jersualem glasses, the whole Columbo routine. You are a walking 20th century stereotype, a century neither of us ever fucking lived in, but despite all those layers of bullshit you live in you are *the most honest person I know.* You never hold back, 'you tell it like it is' and everything you do, even upholding this stupid fucking schtick, is so profoundly *genuine* in a way I have never known any other person to be. It is why I like you. Why I want you around all the time. Why I *wanted* you here, why I asked you for help. I nearly bankrupted myself for this- this–" I knocked more papers off the table. "–this shit that didn't actually tell me anything without you here. It is all useless. Useless!"
+
+I flipped the table over.
+
+I cannot change the past, and I cannot forget it. It burns a little ember in the back of my head sometimes, and it hurts to speak of openly, but it is here for the same reason everything else is. It is a part of the narrative.
+
+Jack took a few steps back in surprise. "Fucking hell, Denny—"
+
+"Denny? *Denny*? Oh, Mister Haveck is a step too fucking far, but you are going to call me DENNY?"
+
+It might hurt Jack to read this, too, because in that moment he did the most aggressive thing I have ever seen him do before or since. Even then, he did not do it to hurt me, but to bring me to his level and pull me out of myself. He grabbed both collars of my zip-up sweater, yanked me down to his level and forced me to stare him in the eye. His face curled into the kind of angry snarl only badgers are capable of.
+
+"Shut the fuck up and listen to me. Do you have any idea what your clade has put me through? *Any* idea? Because you're right, I can't shut the fuck up, especially when I see someone behind the scenes messing with things. Before I met you, before I even knew you were one of them, all my interactions were with the Eighth Stanza. They, and that megalomaniacal son of a bitch Jonas they work with, did not and do not like me very much. They couldn't extort me, couldn't bribe or persuade me, and they couldn't force me to quit. And do you know what happens to people like that? I lost count of how many assassination attempts there were. They even got a fork or two. Wanna know the last one I remember? I watched my cocladist Miranda, a Lynx who got all of her muscle mass the hard way instead of forking, *throw a killer through a plate glass window with one arm.* I never found out if he fell all 30 stories before quitting but they stopped trying to kill me after that. I hated all Odists for a long time, even though most of you don't deserve it, and if I hadn't met you I still would. If I hadn't been walkin' public sims looking for a decent slice of actual proper New York pizza and stumbled into a cute guy, I'd have a grudge against you couldn't *fit* inside a sim. You. You got me, pal. Here's this fella, and he's thin and human, not normally my type, but he's tall and he has messy hair and he's really interested in the *actual* history of the System, which makes up for it. He convinced me that maybe I had the Odists wrong, that maybe I'm missing the Ode for the Stanza, and maybe just Jonas is the one who wanted me dead. I'm not so hard headed I can't admit when I'm wrong, I ain't no fucking saint."
+
+His grip loosened a minute, then tightened, pulling me closer. The snarl faded to a scowl, but his eyes were full of tears. "And maybe, just maybe, the reason I started to fall for this new kind of Odist is because I sympathized. Maybe I've got a down-tree instance. Maybe she's a raccoon, but she'd slip into your Eighth Stanza like a glove. Maybe everything I am and everything I do is to not be the monster that she is. Maybe I've dedicated my whole life to being honest and spreading the truth because I can't handle that plurality aside, when we forked after uploading, my origin is from indside of her. So maybe–" the snarl crept back "–maybe when I see the survey collecting what could be a dangerous amount of information about people, I get a bit nervous. Maybe it's bad memories from phys-side. Maybe there's some doubt I can't shake even when my gut says to trust you. Maybe I'm afraid he's been working for the others this whole time and I'm a goddamn fool. But even then, *even then*, I joined this project because I like you too, bud, and I needed to know what you were up to. I figured I could give you the answers in person. I *figured* that if something was up and I needed to protect my neck again, I'd catch wind here. And when you start getting pushy about my answers, I keep my cards to my chest. Dodge. Deflect. Walk you around the block a few times. I've got a monster in my clade, and she's made me fucking paranoid. And now, I've fucked up the first chance I've had at a good relationship because I've shattered your saintly fuckin' vision of me. I am a *master* of bein' dishonest, Deny All Beginnings, a *professional* liar. It's in my core because of who I forked from, it's just that I have a choice never to be that person again and it's the only thing that keeps me from quitting for good when I wake up every morning."
+
+He let go of me, not even shoving me back, just dropping his arms in defeat. "I should leave."
+
+"Yeah, maybe you should. This whole fucking survey was a fucking mistake."
+
+"I'll see myself out." He said.
+
+It may seem pointless to include this. That I have lost the thread of what you asked me about. That in dredging up an anecdote to make a point I have lost myself in the emotions of that memory. I have not told you everything. I have not been honest about what my relationship to Jack was or is. I left out our discussions on sexuality, on polyamory, on what journalism or history is in the System. I could have paraphrased him after the argument, and left whatever feelings we have for each other out of this. I moonlight as an editor now and again, it would not be difficult.
+
+I include this event because it, and what happened next, changed me. It became a part of me, as I let someone else into my life and into my gender. Perhaps it is not as irreducible as it seems to me, but in that way Jack and his whole clade affect others, I found myself then inside of a story, and I am so intertwined now I struggle to perceive myself from the outside of it. What language I use, how I speak of gender and transness, is informed by this, and I am powerless against it. It is part of the narrative, and the narrative is everything.
+
+When Jack turned to leave, I went to do something petty. He had left his leather jacket on a chair. He could have forked a new one, but for reasons I still do not understand, I wanted one last jab before he was gone. I thought to grab it, to toss it to him and say something cutting and witty, leave some salt in the wounds we verbally opened on each other, to make both of us more bitter. What I did instead was tangle my legs in the overturned table, fall, and dash my skull on one of the many filing cabinets in the room. Both of us for a moment forgot we were in the System, I think, because I panicked at the wetness on my face and Jack rushed to me like a medic. He made sure I was stable, checked the gash over my forehead, and somewhere around him summoning a rag to wipe up the blood we both remembered that I was not at any risk of bleeding out. He collapsed near me, willed two iced tea lemonade cans into existence, and handed me one. We were quiet for a while, and the image of him then comes to my mind unbidden often, back against a cabinet, one knee up, head down, staring into the can. He turned his paw back and forth, and the dim light of the room made the metal dance and shine. Jack's not a thin badger, by any means, but in that moment all his clothes seemed too big for him, like a little kid trying on his dad's clothes. He didn't look up when he started speaking.
+
+"The truth is, Denn—Deny All Beginnings, is that I also didn't answer the survey because I'm not sure. When it comes to species? Sure, that was cut and dry, no problems there. That part is so simple. Sexuality, too, that's an easy one for me, not my thing really, y'all have fun with it, I'm good. But gender is…not easy."
+
+He looked up, but not at me, out into the distance, beyond the far wall of the room and well past anywhere I could follow. Some chunk of history caught his eye and his voice softened. "It's…our plurality, how we were as headmates, that was one thing phys-side. How we ended up forking and spreading out sys-side was real, *real* different, and reshaped all of us. Jane, my down-tree instance, cut the line and forked out as soon as we had the rep. She hated being part of us, and finally got her wish of a body of her own. She hated anything masculine about herself. She hated how she hadn't had much say in our appearance or wardrobe phys-side. She hated any part of herself that reminded her of her father. I wish the System would let me forget it; it's like holding a ball of hot metal. When she had gamed the System for enough rep, she forked hard, pushing as much of what she hated about herself into it, and bada bing, bada boom, baby, I finally exist in the flesh. She gave me a huge pile of reputation, bounced me out of her sim, and didn't speak to anyone in the clade for 50 years or so."
+
+He shook his head. "I don't hate her for it. I can't, I was her up until the split. And hell, some small mercy, she also pushed into me the parts of herself that liked what was masculine about us, that liked our father, that loved our clade and wasn't afraid to live up to all those high hopes certain people had for us. The reason I hate her is she became a fuckin' politician, playing spymaster, all this cloak and dagger bullshit with no morals, but hey, that's irrelevant. I'm getting sidetracked. She needed to do it. And she carried me with her up until she forked me, which hurt her just as much. She couldn't embrace or redefine masculinity like so much of the rest of our clade did."
+
+He looked down into the can again, swirling it slowly. "I'm happy with who I am now, but Jane's resentment lingers like a ghoul. It eats at me, man. It really does. Makes me doubt myself."
+
+I finally found my voice again. "You know, I do not know why he did it."
+
+Jack finally looked at me.
+
+I shrugged. "My down-tree instance. The…root of the stanza if you will." I was waving a hand in front of me. Even that early I picked Jack's habits and he started to pick up mine. So it goes. "All of us in the Stanza started with he/him pronouns, and most of us still use them, save Hold My Name Beneath Your Tongue And Know, who I am now realizing that I should have talked to in the first place. Shit. Shit shit shit." I shook my head. "Anyway, my down-tree instance chose to fork with he/him pronouns. The hell of it is, I have his memories, I can conjure him into my head or make a fork like him, but I cannot understand why he did it."
+
+"Not at all?" Jack asked.
+
+"No," I told him. "It felt like the right thing to do in the moment, but it was instinct. A gut reaction. 'This is what I need to do' but no reason, no goal, no motive. He just did."
+
+"Denny, if there's one thing I've learned chasing the truth above all else, it's that a feeling is enough. So many people talk a big game about facts and logic and all that shit, but any sort of reasoning that doesn't account for emotions is bullshit."
+
+"No, and I get that, Jack, I do, but…why? Why did he feel that way? Why did he do what he did? I am not my down-tree instance any more. We had some things in common, but when I go back to those memories, I see them with my eyes and not through his. I think about how I feel and what is important to me, and I cannot align it to his feelings at all."
+
+I looked down, and discovered what Jack found so appealing about staring into the can. The light that hit the tea inside reflected onto the inner walls of the can, shimmering. The liquid was murky, and there was a soft froth of bubbles along the edges. Here was my own reflecting pool, in a single serving. I let my thoughts sink down into the tea and swirled the can, washing them. Let some sweetness and some flavor give them a light bit of color. I pulled them out again, somehow with them clearer instead of the shade of the liquid.
+
+"I guess I was expecting it to…I do not know, mean more to him? The more I think about it, it is a moment more than any other, even picking my line in the Ode, that defined who I became and what I am now. A decision made by some stranger, a man I barely ever was and now decidedly am not. How could it mean so little to him? And *did* it mean so little to him? Have I changed so much that I cannot recognize his emotions? Maybe I am giving him too little credit, pushing this expectation that we should have dropped to our knees, tears in our eyes, lifting our new hands towards heaven, as antennae, broadcasting love to a world and a creator that let me become what I am? It should have meant more, it does mean more, but I project onto the past the sentiment of the present and punish it for not knowing the future. I never thought to ask him. I did not myself realize the importance of it, and by the time I did, it was too late." The cut on my forehead had stopped bleeding some time ago, but the sensation of wetness remained. Somewhere I had begun crying.
+
+"Too late? Are you not on speaking terms or something? I can try to talk to him, get him to—"
+
+I shut my eyes and leaned my head back against the cabinet. The tears cut rivers down the soft hills of my cheekbones. "Jack, what does the name Qoheleth mean to you?"
+
+My eyes stayed shut, but I know what he did. The mind does such an amazing job of filling in visuals when it knows the subject so well. I know Jack frowned. I know he tilted his head to the side as he said, "What *does* that name mean to me? It's familiar…" I know the endless catalog of his mind found it, and when it did his face softened, and he looked down. I know how his snout moved around the soft *oh* that escaped him. I know the pity that filled his eyes. I know his paw came close to my shoulder, and I know he feared to touch me, unsure of where he stood after everything that had happened only a handful of minutes before. I know he slowly pulled his paw back. I know that now he never hesitates, because there are no barriers like that between us anymore.
+
+"I was there, Jack. When it happened. I have nightmares about it still. Some of them I am the one up at the podium, or the assassin comes for me instead. I cannot stop reliving it. It is not like the deaths Michelle remembers, it is so *visceral* and so much more real here. He is gone. No forks, no miracles, no ghosts. He spoke of the dangers of permanence, and he was right, because I cannot now ever get that closure from him." I threw up my hands. "Am I just stuck with that forever? Hopeless before a question I cannot ask and stuck without answers even if I could."
+
+"I don't mean to be indelicate, but it seems to me that you found your own meaning in his choice. What could he possibly have told you that you haven't already figured out better yourself?" He asked, and took a swig of his tea.
+
+"I need to know if I am allowed to call myself trans or not."
+
+Jack spit his drink everywhere.
+
+I opened my eyes at that. "I need to know why he forked the way he did, so I can know if—"
+
+"Are you serious right now?"
+
+"He never called himself transgender to my knowledge!"
+
+Jack started looking around. "This is a prank. This is a prank, right? Where's the camera? Are you wearing a wire?"
+
+I sat up straight. "Jack, I am being serious right now!"
+
+He took off his glasses and rubbed his eyes. "Jesus Mother Mary and Joseph, I am going to be the first person in the history of the System to have an honest to god aneurysm. I can feel the clot forming in real time, it's incredible."
+
+"What if he did not do it for–"
+
+The badger dragged his paws down his face. "We're settling this right the fuck now. You are a man, yes?"
+
+"Am I?"
+
+He glared daggers at me. "Do. You. Identify. As. Masculine."
+
+"You know I do."
+
+"And your root instance, ah, what's her name?"
+
+I squirmed a little. "Michelle. Or Sasha. Kind of both? Michelle."
+
+"Is Michelle a cis woman?"
+
+"I mean she was not *not* cis…"
+
+"Fucking Odists, I swear to christ. For the sake of the argument, she was cis enough."
+
+"Okay."
+
+"She was a cis woman, you came from her, you are not a woman, ergo, you are transmasculine by the bare minimum of standard measures. If that is not enough, I will draw up a document, have it notarized, and give you a framed copy for your goddamned living room."
+
+I squinted at him. He waved it off. "Listen, you would not believe the amount of 'functional small town government' sims there are out there. Weirdly a very universal desire of mankind."
+
+We laughed, and Jack summoned up another can for himself. I sighed. "I still would have liked to hear his thoughts about all of this."
+
+Jack nodded. He leaned towards me, raising his can. "To Qoheleth."
+
+"To Qoheleth," I answered.
+
+"To he who died in the pursuit of Truth," he said solemnly.
+
+"To he who died for daring to speak up," I answered.
+
+A clinking of cans. The taste of citrus and tea. A few more tears. A hug. An offer of a hand, one man pulling the other to his feet. A righting of a table. A scooping of papers. A lingering question.
+
+"Do you think it is healthy, Jack?"
+
+He paused for a moment, a stack of answers in his hand, but didn't look at me. "Healthy?"
+
+"All these people, not acknowledging that they are Trans, that they chose to change themselves?"
+
+"Well, *Deny All Beginnings*, you tell me."
+
+"Qoheleth talked about how our inability to forget was driving our clade crazy. It does not feel right to act like what we came from does not shape us if we cannot let it go, either."
+
+He set the folder down, and turned to me. "I don't know if it's *healthy* or morally *right*, but it's what people *do*. The System is really amazing in that way, you get so much more say in what the narrative of your life is. I was 'human' at some point, but I never feel the need to acknowledge it, because I feel it bears so little on the story of me." He began to unbutton his shirt. "Do you think I'm transmasc?"
+
+I nodded. "If my coming from Michelle makes me trans, and you came from Jane, it only makes sense."
+
+He undid the last buttons. "Well, true, but there's a wrinkle I don't think you know. Jane herself is transfeminine. Our root instance is too. When we uploaded, we had been transitioning for the better part of 2 decades. Does that change your answer?"
+
+I chewed my tongue a moment, but my thoughts coalesced quickly into a simple chain of logic. I shook my head. "Why should it?"
+
+He opened his shirt. On his chest, there were top surgery scars. "Going against the grain twice made me who I am. Jane hides her transness from the daylight, much as she holds it dear. There's no physical trace of it on her anywhere." He tapped the scar on his left with a paw. "I keep it close to my heart, but I wear my heart on my sleeve. It's the same reason my cocladist Miranda built a gym for herself. It's the same reason I suggested using paper to look at the results. The process affects the end goal. It's not just about how the story ends, it's about how we tell it. What makes us trans isn't just the end result, it's–"
+
+"–the narrative." I said.
+
+He laughed, and buttoned up his shirt. "I'd say that this was all a hell of a long way around to get to the point, but uh…."
+
+I smiled. "Thanks, Jack."
+
+He walked past me to grab his jacket. "Hey, well, you know me." He spun it around himself, sliding his arms into it effortlessly. "Always a sucker for a good story." He tugged on it to straighten the collar. "And god only knows every last one of you Odists is a novel the size of a cinder block, fuckin' A. Catch you around, Denny boy."
+
+He walked around the table, and just as he reached the door, he forked. One of him went through the door grinning. The other turned on his heels to face me. "Just, ah, one more thing, Mr. Deny All Beginnings."
+
+I raised an eyebrow at him.
+
+"Would you be free for dinner this friday night?"
+
+{{% verse %}}
+I ask you this:
+What is it to Deny something?
+Denial is a weighted word,
+One we see too oft as negative.
+To Deny can be an act of power
+To Deny an enemy a victory
+To Deny we are bound to the past
+I came from Michelle,
+but I Deny that I am her
+I came from Qoheleth
+but I Deny he made me
+I am an Odist true
+but I Deny my clade defines me
+I began as human
+but I Deny I am bound to my species
+To Deny the End
+Is to Deny All Beginnings
+but should I Deny what happened in between?
+
+I ask you this:
+is transness a Denial?
+is that a Denial in itself?
+Do you Deny All Beginnings?
+or do you Deny that they define you?
+Do you Deny the body?
+Or do you Deny that you are beholden to its shape?
+Do you Deny the narrative?
+Or do you Deny that transness is just a Denial?
+{{% /verse %}}
+
+Perhaps I no longer speak well for the rest of my clade when it comes to matters of gender. Perhaps the way Jack's clade conducts themselves has altered my narrative irrevocably. In the end, it doesn't change anything.
+
+My name is To Deny The End Is To Deny All Beginnings, and I am so very, *very* trans.
+
+Now if you'll excuse me, I have another date with a badger.
+
+*([@CERESUltra](https://cohost.org/CERESUltra))*
+
+
+-----
+
+> Motes:
+> When do you think you began to take on this identity of the littlest sister? What inspired you to choose this role? How has it affected your relationships with others? How do you feel about all of it?
+
+And We Are The Motes In the Stage-Lights
+
+We were all of us, all of the fifth stanza, forked in systime 3, back when A Finger Pointing began to branch out. We began, as a matter of course, all but identical to her, both in looks and in temperament. However, we shortly began to diverge as we went our own way. Voces Sensuum became a thing. We took our jobs, and my job was as a stage tech, so I was the one building the sets, painting everything, minding the curtains, all of that sort of stuff.
+
+It was actually while doing all of that painting that I started to think about what it was about me that differentiated me from my immediate cocladists. This was...I do not know, perhaps five years down the line? Something like that. By then, we had all started to go each in our own direction, taking those little specks of her that we had been granted after being forked and turning them into something uniquely ours.
+
+I was painting and thinking about what was different about me that made me so unlike That It Might Give, our director, when I realized that I had sat down in a patch of wet paint. I had taken to wearing overalls at the time, because having all of those tools at hand, all of the little screwdrivers and paintbrushes and picks in my chest pockets while pliers and hammers lived at my waist. Something about wearing those paint-spattered overalls dredged up a memory from decades prior, and I could not but laugh about it.
+
+I do not know why the image stuck with me. What was I supposed to do with such a thing? It was of when I was in kindergarten, a rolly-polly Michelle Hadje, somewhere in the central corridor, wearing her silly corduroy overalls and finger painting at her little table, getting tsked at by Miss Willard for sitting in a splotch of red paint. "Oooh, your mother will be upset," she kept saying.
+
+It was just so silly! I was a kid, of course I was going to get messy.
+
+And now here I was, 46 years old, lingering on a memory from nearly four decades prior and thinking back on that very silliness.
+
+There are certainly some 'life was simpler' feelings about it. Life *was* simpler, was it not? No getting lost, no uploaded consciousnesses, no fretting about love and all the woes that hit us surrounding that phys-side. I suppose I wound up just leaning hard into that memory. I opted out of love. I started to own the playfulness of my attire. I started to own *playfulness,* period! It is so easy to forget the role that play plays in our lives, with our carefully delineated fun times that we must squeeze in around work and sleep and all sorts of obligations. Life is play, and that became my whole *thing* over time.
+
+I found that that led to a change in the way my cocladists and friends treated me. They started ruffling my hair, trying to get me excited, playing around with me in the auditorium, all the good things that we do with kids and none of the bad things; after all, if they needed serious-Motes, they could always take a step back and talk with me like the 46 year old woman I was, right? I liked all of that.
+
+At one point, I started to age down my appearance bit by bit as another way to lean into that. This came with a few side effects. Chief among them was the way that I was approached by strangers. Even from its earliest days, after a particularly disastrous experiment, a minimum age of 18 years was imposed on uploading. When I started to occasionally look younger than that, I was viewed with confusion, wariness, or even anger.
+
+I was at one point pulled aside by A Finger Pointing and given a gentle suggestion (one I suspect may have been passed on from another stanza) to be careful about this particular experiment of mine. I can very much see why, of course. There are plenty and sufficient reasons that someone looking young in a world with a lower bound on age would be viewed with disdain, and I would not always have the chance to explain myself.
+
+Besides, how could I possibly explain via just my appearance that I was reclaiming a childhood that I had not actually lived? There is the childhood I had actually had, yes, and it was perfectly average, but here I was provided a chance to choose the aspects of childhood that I liked and discard all of the bad stuff. I could discard the emotional lability that led to tantrums (do not get me wrong, I still get them, and ma would kick my butt if I did not admit that here). I could leave behind the inability to understand simple social connections. I could claim that playfulness while keeping that hard-won intelligence.
+
+In the end, I veered away from that particular exploration as not worth the social cost, though I do still look younger than most of my cocladists (except perhaps Warmth In Fire we are two peas in a pod): a comfortable 20 instead of their early 30s.
+
+I like who I have become. I am a being focused on play, on existing comfortably in a role that I have carved out for myself. I am the babiest Odist largely because of this, yes, despite being...oh, what year even is it? I am three centuries old, and I am still the little kid in my stanza. I get called 'Dot', 'Mote', 'Speck', or 'Kiddo' (or, when I am in skunk form, 'Skunklet'). My stanza are my sisters. A Finger Pointing is the eldest, the one who loves and protects us all. (I call her 'ma' sometimes just to be a little snot, of course, but what is being the youngest sister without a bit of indulging in brattiness?)
+
+All of this feels good to me. It is an affirmation that I am still doing what is both good *for* me, and what is perhaps out of reach for so many others within the clade. What started as a memory of paint on trousers led to not just an identity, but an entire way of being.
+
+
+## On Sims
+
+> To those Odists so inclined: What is the best worst bar or restaurant you have ever been to? Not best, not worst. Best worst. Can you tell me about something particularly memorable off the menu?
+
+To Deny The End Is To Deny All Beginnings:
+
+Oh, man. Oh, *man*. Have I got one for you, I have been really into punk and metal lately, and I stumbled into a hole in the wall. It is called the mohawk, and it is a *mess.* The outside of the place is dirty, the street is half finished, and the inside is even worse. It is barely 20 feet wide if that, bar is cramped, the stage is too small, the food is terrible, the bathrooms are miserable for everyone, whether you want to use it for a hookup or bothered to keep biological functions like that in the System, and the acoustics of it are *atrocious*. It is so bad.
+
+You will see the best show of your life there. You will have a conversation that changes your entire outlook on something. You will make out with someone in a drizzling rain out front, and find yourself marrying them 30 years on. It is the kind of place that everyone eventually ends up at when you run out of suggestions, and it is, do not mistake me for a moment, a shitty place with shitty drinks and usually pretty shitty music, be that the sound tech’s fault or the musicians. But it is also where one drink or one wave of the hand or one snippet of conversation overheard becomes the moon that pulls on the tides of fate. If the rumors are to be believed, that is all *by design*. It is wonderful. It sucks. I love it so much.
+
+The most memorable thing on the menu is the Poutine, a traditional dish from the northern parts of the Western Federation, made from gravy, french fries, and cheese curds. I say it is the most memorable thing on the menu, because it is the only thing that is actually good. It stands out like a boulder in a field of shitty roses. As I understand it, it is a favorite of the owner of the sim, a strange Shamo Chicken by the name of Felicia King. Order the wings first, it is a tradition to be disappointed by them as your first food, then order the Poutine and complain about how the wings just are not as good, and it is a ripoff how much they cost. This will start a fight somewhere in the bar, and time-old rites will be honored.
+
+I am there at least once a week, and I will buy you the worst beer you have ever had phys-side or sys-side.
+
+Or a watered down soda. I get that not everyone drinks, even in the sim.
+
+*([@CERESUltra](https://cohost.org/CERESUltra))*
+
+
+-----
+
+> E.W.: Would you tell us a story about the wilderness?
+
+E.W.
+
+I remember teaching myself to hunt, promising myself that I would start small with snares and then work up from there, thinking that I would not let myself eat until I could eat food that I had caught myself.
+
+Eating itself is optional, sys-side. One can simply turn off that ability, just as one can (and most do) turn off the need to urinate, defecate, get the hiccups, and so on.
+
+The mind, however, remembers hunger. It remembers it so viscerally that, should you neglect to modify that out of your sensorium, you will feel it just as intense as you did back phys-side. It remembers the feeling of satiation that comes with eating. It remembers the feeling of being too full, of being sick to your stomach. It is a part of life, and even being infolife, we remember that from before we were such.
+
+So I remember getting so hungry and weak by the third day that I pinged Serene, my cocladist who had built me my little wilderness, to see if she could help. She laughed and ruffled my fur and called me a dumbass, saying that she had not included fauna because I had not requested it, so of course I did not catch anything. She brought me a hamburger and I ate it so fast I got sick.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> Open letter to the Odists - Would you tell us about your favorite public sim?
+
+I Must Set No Stones Between Me And My Actions
+
+There is a sim that I love to visit when I remember, which is sometimes only a few days, and the standing record is a decade. It is a small village by a sea, and I am told it is based upon the shores of the Mediterranean. Along the beach, a massive wall runs for quite some distance.
+
+Besides fantastic food and a generally calm vibe, there are two reasons to visit.
+
+Every day, people head out onto the beach, and draw in the sand. Everyone is free to draw as they please, but the best days are when a large design takes hold early in the morning and everyone contributes. Each night, the tide rolls in slowly, and wipes clean the beach. No pictures or permanent records are allowed, save the ones in your head, since memories never really leave us.
+
+Meanwhile, on the walls and roads and roofs and floors of the village, a mosaic now approaching 180 years old spreads. When you enter the sim, you are given a single tile, in a choice of colors. So long as it is touching another tile, or a seam or edge where tiles touch, you can place a tile wherever you please. In the beginning, folks were limited to one tile a day, but at some point there must have been an issue, for now it is every 6 weeks. Some sections have been meticulously planned, while others are, to paraphrase a friend, “throwing tiles at the wall to see what sticks.” Once a tile is placed, it is there for good. If you misalign it, there is no fixing it, so choose wisely.
+
+Something about the ephemerality of the sand and the permanence of the tile speaks to me, and both the food and company are a delight. I have been dipping in and out for about 70 years now, and it is always a pleasure to see old faces, and new ones come to draw in the sand, or maybe place their first tile, or simply looking for a place to relax and sip some wine. I cannot recommend it enough!
+
+*([@CERESUltra](https://cohost.org/CERESUltra))*
+
+
+-----
+
+> Serene,
+>
+> If you can pick a favorite, which landscape that you have designed is yours?
+
+Serene; Sustained And Sustaining
+
+I created a swamp some time ago. It is quite boggy and wet, with open water, banyan trees, and patches of what look like solid ground, but which are actually patches of water grasses that cannot support the weight of a person. Winding throughout it is a rotting wooden bridge-path that ducks between the trees and leads from patch to patch of those grasses, all but inviting you to step off and sink down to your waist in brackish and algae-slimed water.
+
+It was quite poorly received — too many bugs, too poor a smell, too hot and muggy — and for that, I am deeply in love with it. This reception means that I am wildly successful in what I set out to do. I, haver of fur, am mostly immune to the bugs, and I can turn down my sensorium to deal with the scent, but I love walking between the trees, squatting on the rickety path and poking through the grasses, watching the gar and caimans float idly by.
+
+What can I say? I am a sucker for so imperfect a land.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> What's an Odist and what's a sim?
+
+Serene; Sustained And Sustaining
+
+An Odist is a member of the Ode clade. We are (nominally) 100 individuals descended from a single uploaded consciousness named Michelle Hadje. As Michelle is no longer extant, this had led to us being ten disconnected subclades. Each of us is named from a line in a poem Many of us are human, many of us are anthropomorphic skunks — Michelle was a furry, back on Earth — and two of us are fennec foxes, for better or worse.
+
+Sims are the locations in which we live. I happen to be a sim designer, with a specialization in natural settings rather than buildings.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> Serene:
+> Tell me about the desert, if you would. Tell me about sand, wind, and sagebrush.
+
+Serene; Sustained And Sustaining#Castor
+
+I have made two deserts of note, and I am quite proud of them both.
+
+I will start with the second desert. It was the barrier between Castor and Convergence. While the goal was to provide a naturalistic entrance to a space that, in actuality, required a rather slow transit time. One would approach any number of crossing points, each marked with a customs office, that would allow one to pass through a pedestrian gate and be whisked off to the other space in a rush of heat and warmth. It is a bit of magical realism, perhaps, but the desert is no less real.
+
+It is too hot in there, even for me, but it is quite pure for that. The sands shift in the wind, form the hint of a crust that a paw might crunch through, slip and slide along the faces of dunes before tumbling down the leeward side. Very few people think to go in there, but I have. I have turned down my sensorium and bypassed the safety protocols and stepped out into the sand for days and days at a time.
+
+It is an empty place. There is no end to the sand. There is nothing out there, I think. Perhaps it will someday resolve based upon a hidden desire, but for now, it is a procedurally generated forever.
+
+It is beautiful.
+
+The first desert that I built, however, is one that I am even more proud of. This was a century and change ago back on Lagrange, back before the launches were even a dream. I built a desert based on what I remember of a brief trip to the Sonora desert. This was a desert of sage, of cactus, of more rock and stone than sand.
+
+This one is not a forever, it is an in-between. There are two city sims, each created by a friend, and they decided to merge. They did so by building an arch facing each other, and in between them, they contracted me to build my high desert. A dusty, well-worn set of tire tracks travels between them, and, while I am sure that most simply step from city to city while ignoring the desert, it has become something of a pilgrimage for many to walk that trail.
+
+It is not wholly safe, mind. The cactus spines are sharp. There are javalinas and snakes and scorpions. There are washes that will flood in a heartbeat with little to no warning if there is rain up-slope. Mild thrills, to be sure, but thrills nonetheless.
+
+What very few people do, however, is walk out to the mid-point between those two cities and turn in one direction or the other and walk perpendicular to the trail. The trail is a simple three to four hour hike, but there is an additional two days hike to either end until one comes to either an impassible canyon or a tall fence built of metal posts; the boundaries of the sim itself.
+
+If you do that, you will find that you very quickly lose sight of the cities, and are left with the sounds of the wind or the coyotes or the rattle-crack of thunder, joined only by the saguaro and barrel cactus and prickly pears, the scent of sage burning in the back of your nostrils as the heat beats down on you.
+
+I love all of the sims that I have built, and always promise myself (and my clients) that no environment is to be favored over another. I am a liar, though. This desert, this high desert, is my favorite among favorites.
+
+It is a small lie, a harmless one, but the desert is my favorite.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+
+## On Hobbies, Pastimes, and Focuses
+
+> A Finger Pointing: Tell me about the weirdest show you have ever put on. Not bad, just weird.
+>
+> -Found In The Hearts Of Many
+
+Time Is A Finger Pointing At Itself
+
+Time Rushes choreographed *Lubaenåt Jaruvåtier Les Kupotam?* in the 230s, which grappled with the intoxicating experience of Artemesian skew as described by True Name. There was so much potential, so much curiosity, but there was also the miserable familiarity of the sensation. Capturing this horrifying stretching of the mind was the essence of the dance; having Sasha to assist us in interpreting the story certainly did not hurt.
+
+Rainbow's End assisted us with some of the artistry we needed to depict the blurring of movement that the performers could not adequately manage with an animated fork. There were moments of uncanny suddenness that also required a great deal of fudging to approximate.
+
+A key facet of the scene was the discontinuity between several subsets of the party, each portrayed in slightly different ways according to their relative skew; this had the effect of highlighting the perspective characters as if with depth of field, casting some in silent stillness and others in flittering obscurity.
+
+There was a sort of pivot at certain points in the choreography when this focus would shift from one subset to another, showing the party from another perspective. It began with the recorders, who scrutinized the statuesque cast around them, and ended with the protagonist caught in the midst of a blizzard of indefinite figures skittering across the stage.
+
+It was difficult to make a *story* out of a dance when few had the context with which to understand it, but there was no better way to depict skew than with choreographed motion. It was one of the most challenging endeavors of Time Rushes' career, but it also earned us some attention from the Artemesians over on Convergence thanks to AVEC.
+
+My personal involvement was mostly in arranging consultation by various artists in an attempt to finalize the depiction of skew into what Rainbow's End ultimately made it. Serene, Bay, Elicit; they all contributed to the formulation of this production's unique image.
+
+*([@hamratza](https://cohost.org/hamratza))*
+
+
+-----
+
+> Motes!
+>
+> Would you like a piggyback ride? And what's your favorite flavor of punch?
+>
+> Joyously,
+> Seras Frame
+
+And We Are The Motes In The Stage-Lights
+
+Yoooo frick me up with a piggyback ride! Gol dang! If you do not run around like mad so help me I will pull on your ears and call you names!!!
+
+Wait punch though...
+
+God, I am going to sound ooold, but I like the punch that is ginger ale with sorbet in it! Lemon sorbet preferably, and the cheaper the better. It gets all weird and creamy and fizzy and way too friggin' sweet.
+
+Ah heck, I am going to get some ginger ale and make the *worst* float...
+
+
+-----
+
+> Slow Hours—
+>
+> It seems so often to me that you have the criss cross pattern of a schoolyard tool imprinted on your face, no doubt hurled at you by a god. Your predictions are truly uncanny at times. What are the best, worst, and best-worst of your prophetic musings that have come to pass? Do you regret the best? Are you proud of any worsts? Do you worry you have a line to somewhere you should not?
+>
+> I would ask if any of Jack's favorite sys-side baseball teams will win any Serieses this year, but he tells me that is blasphemy and I must not Profane the System's Favorite Pastime so. I asked whether he meant prophecy or baseball, and he did not speak to me for a week.
+>
+> Town crier to your scryer,
+> Deny All Beginnings
+
+Where It Watches The Slow Hours Progress
+
+"The criss-cross pattern of a schoolyard tool imprinted on your face, no doubt hurled at you by a god"! Deny All Beginnings, you amaze, as ever. I will have you know that I showed this note to A Finger Pointing, who laughed, disappeared into the exchange for a bit, and then dreamed up precisely the schoolyard tool mentioned and hurled it at Motes. She was so startled that there were suddenly almost a dozen Moteses scattered around, and we had to make them all run around the outside of the building until she was able to stop giggling and merge down once more.
+
+You ask after prophecy, and you ask after bests and worsts.
+
+There are, I should note, a few different types of prophecy that I engage with. The least exciting of these is simply the result of having read a rather large chunk of System Central Library over the centuries. Our lives are not nearly so complicated as we might suppose, and we are not nearly so erratic as we might imagine. Many of these prophecies are simple predictions based on the shape of the story one is currently living in.
+
+A step beyond that is a type of prophecy that boils down to a cold read. While these might be less accurate, all other statements about fortune telling apply here: it is less about being accurate than it is about being adaptable. I do not need to tell someone exactly what will happen to them so much as what it is that they need to hear for a situation that is already happening around them.
+
+Between you and me, though, it is quite rare indeed that I am struck with an actual prophetic vision. I can count four such instances in my time as the clade's own prophetess. I will speak of none of them.
+
+Take, instead, a 'prophecy' that I gave to Motes nearly a century ago. This is one of my worst, of which I am quite proud.
+
+A large part of the crew were gathered on the stage after striking the set. For some reason, they tolerate me better than the actors, so I had joined them. Here we were on this flat plane of black painted wood, sitting or laying down and chatting about our days, when Motes crawled over to me and threw herself dramatically across my lap. She set up a cone of silence, and yet still was a long time in opening up, leaving me to pet over her ears and brush specks of paint out of her tail for several minutes before she started talking.
+
+"Slow Hours, I made a friend," she said. Even if her voice was not serious enough to give it away, she often just calls me 'Slow' when addressing me directly — one of vanishingly few people I will allow to do so — so for her to call me 'Slow Hours' (not even 'Slowers'!) meant that something big was afoot.
+
+"Tell me of your friend, my dear."
+
+"I met them at a dance," she said, not looking up to me. "I went out with Beholden and Unbidden to some crazy biker bar that was also having a mathcore band performing, and I met them in the pit."
+
+"You were your big self, yes?" I asked, referring to the form she assumed whenever she went out anywhere that it might cause a problem for her to be small, whether because she might get trampled or because people might assume untoward things about someone who could probably pass as a kid being there. A metal show at a biker bar fit both bills. She likely wound up looking like a 20-something hippie human, all flower crowns and sundresses.
+
+She nodded. "We danced for a bit in the pit and then got some drinks and talked outside, and then danced some more."
+
+"A good night, then?"
+
+"Very!" She grinned, but it did not last. "Very. They took me back to their place, where we got high, fooled around, and then talked into the morning."
+
+I nodded, waiting for her to continue.
+
+"And that was it. That is all I ever do, right? Go to a show, get wasted, maybe get laid, and then I go back to the stuff I really enjoy. I have my friends here, I have my work, I have you and Bee and ma and Beckoning and Muse, and that is all I need to continue on from one day to the next. I do not do *love.*" She sighed, sounding miserable. "Not like that."
+
+"I sense a 'but', Speck."
+
+"Well..." She pushed herself up to sitting instead, slouching against my side. "I do not do love, but a *lot* of people do, including a lot of the people I wind up spending the night with in big girl mode. I am honest and up front with them: this is just for the night, this is just for the fun of it. I am a healthy woman in her 30s, yes? I am three centuries old, yes? I like sex as much as any three hundred year old woman in her 30s.
+
+"Most of them get it, too. They are usually after the same thing. I have occasionally had someone catch feelings for me, which is fine. We talk about it, negotiate boundaries, move on with our lives." She giggled, adding, "Once, one of them showed up here looking for me and ma just about tore him in half."
+
+"You are stalling, my dear," I said.
+
+She groaned and buried her face against my shoulder. "I knoooow. Anyway, this person and I got started talking about what we like in lasting friendships that we do not really care about in one night stands and they just...they just seem like a really good person."
+
+"And you think you might like follow up on that?"
+
+She shrugged. "They are just into all sorts of things that I am. They paint — people, mostly, and some animals — and also dig the whole small aesthetic and we like the same music, of course. They suggested we could do a regular sort of get together thing."
+
+"Have you told A Finger Pointing about them?"
+
+She shook her head. "I wanted to ask you what you thought."
+
+I asked her several questions about this person after that, and as I did, I felt a nagging sensation at the corner of my mind, a thread was being tugged and it was causing a ripple in the fabric of my understanding of the situation. Being tugged by who or by what, I do not know. That is one of those questions where, were I to try to answer it, the whole thing may well come tumbling down.
+
+"Speck," I said, interrupting her. She must have seen something on my face, for she went silent. "Here are two truths and a lie.
+
+"One: they are a fucking creep."
+
+There was a moment's shock before she giggled nervously. The flow of prophecy has a rhythm, though, if it is to be believed, and I had but to settle into that rhythm to let it land properly.
+
+"Two: you are lonely. You have us, yes. You have your clade and the rest of the troupe. You have your family and your work, but what you do not have are *friends*. You are friendly with everyone here, everyone here is your friend, but you do not have friends."
+
+She still looked wrong-footed, and had pulled away from me as though wary. "And the third?"
+
+"Three: much of that is our fault."
+
+"Yours as in the clade's?"
+
+The edge of prophecy let up off my throat, and I nodded. "There are as many reasons to keep someone for yourself as there are ways to do so. The whole of the fifth stanza — and, to a lesser extent, the whole of Au Lieu de Rêve — has closed around you. Not tight, of course, we are not keeping you trapped and hidden away, but we are all intensely, *intensely* protective of you. We have all endeavored to make your life here the best that it can be, as you have invited us to do. This was part of our conversations going all the way back, was it not? That you enjoyed leaning into being cared for, and we enjoyed having someone to collectively care for? We do not like creeps around our Motes, and so we see creeps everywhere."
+
+As she understood what I was saying, my own little game of two truths and a lie, her shoulders relaxed and she slumped against me once more, sniffling.
+
+"We all love you, Speck, that is all."
+
+It was not her prophecy, of course. It was ours. She is still good friends with that person to this day. That person and so many more.
+
+I am proud of it because I am proud of who she became, and it is the worst because we had to learn how to watch this precious thing we had set at the center of our lives in so many ways go interact with those we did not trust. It is the worst not because we had to trust her judgment, but because we learned how little we had trusted it leading up to that point.
+
+Tell Jack hi for me, and also "5-3". I will keep the teams to myself.
+
+— Where It Watches The Slow Hours Progress
+
+
+-----
+
+> To: Hold My Name
+> From: Andréa C Mason#foundry
+>
+> You mythologize, I hear, about trickster gods. Can I hear a good one about a coyote?
+
+Hold My Name Beneath Your Tongue And Know
+
+Andréa,
+
+It might be more accurate to call me a collector rather than an active mythologizer (for which you might seek out May Then My Name Die With Me; her *An Expanded Mythology of Our World* really is a work of art). However, given our place up in the skies, I will tell you one that I read originally in [comic form](https://www.gunnerkrigg.com/?p=486) — something ancient that was uploaded shortly after AVEC was introduced — and perhaps we can expand on it from there, yes?
+
+Way in the beginning of time, back when the earth was young and not yet fully formed, back before even the small beasts of the trees awoke, the sky was all dark. There was some time spent on the sun and moon, yes, and those are stories of their own, and some day you will here the one about who took a bite out of the moon to sample its savor and found it wanting.
+
+What I am going to tell you, though, is why the stars are such a godawful mess.
+
+You see, one night, the great spirit was out placing stars in the sky one by one and in careful order, for placing the stars up in the heavens is important work. How else will the beasts of the land know where to go? How else will they tell the seasons?
+
+It is important work, yes, but incredibly fucking boring.
+
+Coyote came up to the spirit and said, "Ahoy up there, what are you doing?"
+
+"I am placing the stars," the spirit said, "so that the beasts of the land will know where to go and will be able to tell the seasons."
+
+"Oh," Coyote said. "Can I help?"
+
+The great spirit heaved a huge sigh. This was trouble, they knew. After all, come on. *Coyote?* But all he'd need to do is place the stars up in the sky, and the work really was fucking boring, so... "Alright, you may help. Here. Take these stars and place them up in the sky. I was thinking if we had– hey, wait!"
+
+"There is the buffalo!" Coyote cried, having placed the stars just so. "And there the crab! And look, see? There are the two sisters!"
+
+Another huge sigh. "Well...okay, I guess. They have to go somewhere, and those will still show well enough at night. Keep up the goo– uh...well, keep up the work."
+
+And so Coyote placed the stars, drawing all of the great beasts in beautiful points of light.
+
+"God, this is fucking boring," he thought to himself. "I am too wise and too clever by far for such a menial task. Fuck it!"
+
+With that last thought and an oversized shrug, he tossed the rest of the stars haphazardly up into the night and went about his business.
+
+Poor Coyote, though, he got too impatient for his own good and forgot to make a drawing of himself in the sky, and that is why, to this day, he howls up to stars in sadness, yip yip yi yi yi yip yip yaroooo~
+
+And there is where the legend ends, but it is not where our story ends, yes? What paw do you suppose Coyote had in the stars as we know them? What place does he have in the stories we have told ourselves about our lives up here in our System in the sky? And what of Castor and Pollux?
+
+Perhaps we could tell the story, as our dear May Then My Name did, of how we yearned to see who lived around those campfires in the black of night, how we would build ourselves an ark to sail the seas of space to find out.
+
+"Ah! The people! They are going up beyond the moon! How cold they will be!" Coyote might say, his usual helpful self. "I will stoke those fires and make them shine all the brighter when they are above the very air itself. Perhaps that will warm them and keep them cozy."
+
+What might Coyote do when all that did was make us long for more?
+
+All my best,
+
+Hold My Name Beneath Your Tongue And Know of the Ode clade
+
+
+-----
+
+> Beholden—
+>
+> Favorite music trends in the system. Tell me yours. Also if you know any good metal venues.
+>
+> 🤘,
+> Denny
+
+Beholden To The Heat Of The Lamps
+
+Denny! Lovely to hear from you! Hope things are going well.
+
+It is no secret that I am quite into noise music. It drives A Finger Pointing nuts when I get super into it and cannot talk about the difference between various approaches. I could go on about the various noise music trends that I have seen over the years (there is white noise, yes, but what of pink noise? What of that rainbow selection of different statics? And god, give me stuttercore any day~), but one that I remember following incredibly fervently was that of reanalog death folk.
+
+Some clever trickster figured out how to make magnetic tape media — or something approximating it close enough — and recorded much of their music on it. All sorts of genres, of course, but all utilizing the limitations of the medium (see ["I am sitting in a sim"](https://www.youtube.com/watch?v=fAxHlLK3Oyk) for a particularly silly take). Thus was borne the reanalog metagenre.
+
+Me being me, though, what caught my attention was the way that some fucked with the media enough to nudge it well into the realm of unnerving, drawing out noises that I had not considered. The genre that benefited most from this particular uncanniness, though, was folk, and many began to play with shifting lyrics to existing tunes toward horror, telling strange tales of strange beasts over half-destroyed pianos and banjos on fire into a reel-to-reel recorder strung with half-melted tape.
+
+I cannot put my finger on why, but it was simply divine. Boss hated it, but too fucking bad~
+
+As for venues, you might actually have better luck asking Motes. I love metal, do not get me wrong, but that girl is fucking *wild* in the pit.
+
+🤘,
+
+Beholden
+
+
+-----
+
+> Is it at all common for sims to simulate other forms of simulation that pre-date the System? By that I mean things like, say, video games from back before the invention of the exocortex (ranging from old arcade games to those limited early “VR” games, headsets and all to those big clunky physical flight simulators) or, heck, even the experience of using the ‘net back before upload.
+
+What Gifts, Time Moves Forward, and Motes
+
+What Gifts We Give We Give In Death
+:
+
+ There is quite a lot to be said about games within the System, but with regards to this question, there is something of a split when it comes to games of the past. This split boils down to the idea of realism. Those games that strove for realism were often ported into similar experiences sys-side. After all, if you are going to take a narrative walking game that took place either on a console or rig in non-immersive mode, it would make plenty of sense to simply set up a sim for mechanics. An example would be the delightfully quaint game of Everybody's Gone To The Rapture, wherein this twee British town in the 20th century is the origin of the slow ascension (or at least disappearance) of the human race. You walk around, following an orb of light, which provides audible and visible scenes for you to watch. I helped a games historian set this up along with aid from Serene.
+
+ The more abstract the game, however, the more likely it is to simply be ported along with an idea of its hardware into the System. For VR games, this may come with the concept of a headset, though really this is a prop that modifies the user's sensorium.
+
+ Truly ancient games from the earliest history of videogames are simply ported wholesale, complete with blowing out cartridges to make them load more readily.
+
+If I Walk Backward, Time Moves Forward
+:
+
+ For newer interactive art — and I know that you did not necessarily ask, but What Gifts's Rapture game reminded me — this has been blended quite thoroughly into interactive theatre. Perhaps Dear could explain the complex interactions with instance art as well, but from my perspective as one who works closely with interactive storytelling, the difference between one of our experiences and one of What Gifts's is negligible, except perhaps on attention paid to physical setting: we are less likely to work on sims as environments instead of focusing on the idea of a setting created by our very own hands.
+
+And We Are The Motes In The Stage Lights
+:
+ I am as much a fan of our sets as anyone. That is my role within the fifth stanza, after all! However, I would not so quickly dismiss instance art. They are three different names for the same idea: there is a story embedded in interactivity, and the only difference is the attention paid to various detail. What Gifts pays attention to mechanics and environment, we pay attention to story and sets, and Dear (and, to a lesser extent, Heat And Warmth) pays attention to the mechanics offered by the System!
+
+Time Moves Forward
+:
+ I mean, sure, kiddo, but that is because you have a terrible crush on Heat And Warmth, and ey is Dear's up-tree instance, and ey has a crush on Codrin. They were — and probably still are on the LVs — so sweet together! Cooking delicious food and chatting about flavors and scents and gustatory history.
+
+Motes
+:
+ I do not! Or...well, perhaps I do, but that is beside the point! We are just nerds of a type, you know? And that type just happens to be lovely and you know it!
+
+What Gifts
+:
+ You are both intolerable nerds and I love you for that.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> To those Odists engaged in the performing arts:
+>
+> Not counting instance artistry (Sorry Dear), do you ever opt for effects that would have been impossible phys-side? —Found in the Hearts of Many
+
+Time Is A Finger Pointing At Itself
+
+Dear and Heat And Warmth are both inspirations for Time Rushes and Motes and I. An integral part of our more spectacular productions involves construct, instance, and sim design. Of course, not everything is so *modern;* most of our work is done analogue, although I do tend to go ham on the theatres themselves.
+
+In those hazy days when reputation had much greater significance, we depended upon these particular shows to promote Voces Sensuum across the greater System. I am relieved that the Exchange has deflated so much as it has; we are less bound to the whims of popularity and can focus exclusively on our own creative endeavors.
+
+We do still indulge in spectacle from time to time, however. Our audience is about as impressed by such things as we are, and roping in *artists* rather than *designers* allows us to lean into that in a way that better suits all our tastes.
+
+Take *Spiro kaj Simpleco,* for instance. This was an example of immersive theatre, a collaboration with Serene and Rainbow's End to produce an interactive set using a sim cast entirely in impressionist textures, audience and all.
+
+The audience was asked to indulge in an autumn afternoon with the cast, with little dramas scattered about and a few planned to jostle those who came near out of an awkward silence. The filter Rainbow's End created cast the warmth of the Sun and fog of breath across blurred and broken faces in buttery yellow and wispy white, leaving the audience guessing as to who was who.
+
+This had the effect of rendering otherwise trivial conflicts impossible to follow. The scenes *themselves* were impressionistic. Each conflict was, on its own, meaningless; bantering partners and nagging down-trees and overbearing friends. What the audience was meant to find in this work was the peace that fell over every silent moment, the landscape that as often blended with bickering blobs as not.
+
+Perhaps the production could have been replicated phys-side, especially when considering the proliferation of exocortices during the 23rd century. For a truly impossible feat, you may have better luck asking a Sevgili.
+
+*([@hamratza](https://cohost.org/hamratza))*
+
+
+-----
+
+> To any in the Ode clade who would like to answer:
+> Have you ever lost faith in or energy for what you do, or felt like you lost your sense of purpose and direction?
+> How did you handle this? Did you strike out on your own in a new direction entirely, or think things over and find a way to come back to it with renewed vigor? Or, perhaps, find inspiration in another person or place?
+
+Among Those Who Create Are Those Who Forge
+
+When I was first forked, I started out poking around the System to find out what people were doing with art. After all, we were in a new place, yes? A place with so many new possibilities, yes? I got incredibly interested in finding ways that people were creating sims, impossible paint colors, new flavors in their cooking, all of that wonderful stuff. Forking was too expensive yet for instance artistry to have taken off, but I was not at all surprised when it did.
+
+This, however, did not last. The more I looked at art, the more I started to see all of the ways that our pain lingered. Not just the weeping of the broken-hearted or the joy of this new life, but the resentment towards the power structures that people had escaped, the fear over minority identities being uncovered, the remembrances of lives lost.
+
+This rather spoiled art for me for a while. I could not look at it without getting all wrapped up in overwhelming emotions. I stopped seeking out new artists lest I find new pains to endure, and I (and my three up-tree instances at the time) fell into a funk. We spent a lot of time drinking, a lot of time sleeping. We would walk sims with our heads down, looking only at our feet. We would take lovers and tell them nothing.
+
+I tried a few times to get back into the swing of things, but every time, it just made me depressed.
+
+What I eventually settled on was a change of focus. I took all of that pain that I had discovered and transferred *that* into action. We talked and talked and talked, and then we started to act. We became the pests of the Ode clade, the leftists that pushed for ever more change. We met up with Os Riãos, and End Of Days, Seek An End, and New Beginnings still work quite heavily with Boiling Maw and Hydra from that clade on climate activism (as a side note, I believe that is how Rainbow's End fell in briefly with *Voces Sensuum,* the fifth stanza's theatre company).
+
+We never did get back to art, unless it was the art of activism and change. There was no going back. We *could not* go back. We were no longer depressed, but we used our interest to renew our vigor along tangential lines.
+
+([@makyo](https://cohost.org/makyo))
+
+
+-----
+
+> Who's the best in the clade at scrabble?
+
+Dear The Wheat And Rye Under The Stars
+
+I believe that would be me. As Praiseworthy shifted her attentions to arts administration and her own projects, I was forked to focus on writing and the art inherent in language.
+
+That said, Where It Watches The Slow Hours Progress from the fifth stanza, who acts as script manager for a theatre company, has given me a run for my money several times, so perhaps we are on par.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> Do any in the Ode clade enjoy people-watching? With the freedom of form offered by the System, I imagine it becomes an even more interesting hobby than it can be phys-side.
+
+If I Dream Am I No Longer Myself
+
+My whole stanza, based off of the first line, focuses specifically on people watching. I, and many others, would honestly call it spying. They have been contracted by several individuals to spy on various people of note on the System. On Lagrange, Loss For Images and Even While Awake watched Ioan Bălan and May Then My Name Die With Me for nearly a quarter of a century, forking microscopic instances of themselves and secreting them around the house.
+
+My initial purpose was, in fact, to step away from this. My direct up-tree instance, If I Dream, forked when she began to have doubts about this supposed calling. While she never did work up the courage to disengage with this way of life (or perhaps she did, I have lost contact), I stepped away from the stanza to reconnect with the fourth stanza. They began by following creatives across the System before fucking off to do their own thing. I found that they did, indeed, largely just fuck off to do their own thing, and wanted little to do with me.
+
+So that is what I have done, these last however many decades — is it nearly a century, now? I have sat in town squares and sipped my coffee as I watch the passers-by. I have sat in bars and drank countless terrible drinks, cheek resting on my fist as I stare into the mirror behind the bartender and observe my fellow patrons. I have gone to dinner, requested a corner table, and gazed out over the sea of diners.
+
+I always do so alone.
+
+I always wear a different shape.
+
+I never speak.
+
+I like it better this way, this observing. There is no goal, I just...see. I just watch. Posthumanity is wonderful and disgusting and funny and sad and kinky and uptight and I love each and every last person I have laid my eyes upon.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> To the Ode clade: What is your favorite cheesy, overwrought, low-budget, or otherwise terrible-but-fun movie?
+
+For They, Knowing Not, Provide Life In Death
+
+This is perhaps cheating, as I do not think this is in any way a subversive opinion, but "Pacific Rim". It was quite high budget, but it was also overwrought, terrible, and incredibly stupid. Oldie, as they say, but goldie.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> Any Odist who feels like speaking up: what is your favorite episode of MST3K?
+
+For They, Knowing Not, Provide Life In Death
+
+ Slab Bulkhead! Fist Rockbone! Punch Rockgroin! Stump Beefknob! Brick Hardmeat! Big McLargeHuge!
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> For whichever Odists this best suits: Sometimes, I will lead somebody around, down a given path of inquiry or to certain conclusions. To encourage them to ask "the right questions." It ends up feeling like an elaborate game, particularly if they grow wise and lean into their part. Do you think manipulation of this sort is wrong, even when the purpose is benign or simply for play? For that matter, do you have any general thoughts on People and how they interact?
+
+True Name and May Then My Name
+
+The Only Time I Know My True Name Is When I Dream
+: The Artemesians have a word for this: *tuvårouni;* “push-play”, they called it, a tension in all our dealings with others that enables us to overcome the inertia of comfort. If communication is the means by which ideas are expressed and transformed, then manipulation is how we engage in this push-play; if we all felt the same to begin with, after all, then why have words at all? Communication is manipulation, so this playfully benign qualifier describes *teasing,* not harm.
+
+May Then My Name Die With Me
+: You are not wrong that communication contains at its heart manipulation. However it is more than just manipulation. It is more of a give-and-take than a push-and pull. This is the way in which people work: we make our arguments, yes, but we love, we dance, we offer and receive freely. You mention the framing of this question with its playful qualifier. That is a sort of boundary around the topic. Boundaries such as these must be kept. One must keep this push-play above board and open to disconsent. Consent is to be informed, as I have said before.
+
+True Name
+: Yes; consent, after all, is ideally unambiguous and overt. But it is also true that consent can grow more playful, more implicit, more sly. This, I think, is an example of that *tuvårouni,* where one becomes more open to unanticipated, unplanned kinds of play. Play, perhaps, as in the insinuation that Ioan might grow some dandelions, yes?
+
+May Then My Name
+: I…well, you are not wrong, there. It became a part of our relationship as we grew closer together. I am not sure that I would do the same thing, now, as the person that I have become; I would feel…well, manipulative. I do not think that would feel good at all.
+
+True Name
+: But you do not feel bad now. Do those dandelions not remain in eir lawn? I have seen you come in with a dandelion behind your ear. Do you both not cherish them? Do you suppose Ioan resents that you convinced em to grow some dandelions?
+
+May Then My Name
+: I will concede that point. You are correct. The dandelions remain and have not been uprooted. We both love them. That said, this growing of dandelions was intentional. I must have gotten that from somewhere, right? After all, I was pointed to em by you, and for the very explicit purpose of shaping the *History.*
+
+True Name
+: It was not solely for that purpose; I did point you somewhere that I thought was best for all of us, true. But that somewhere was towards someone who could lift you up after your previous relationship; who could understand and so fairly present the story of our clade to others; who could capture the history of the System with only the best of intentions. I held all of these in balance when I wrote you that letter, May Then My Name.
+
+May Then My Name
+: Do you feel that way still, now that you are getting coffee with em once a month?
+
+True Name
+: …There is the sense that ey does not wholly trust me, and I am sore for that. I am sure that is in part because your relationship with em was all but arranged, for better or for worse. There is a cynicism in this kind of dual-intent. I stand by every word of that letter, but there was clearly harm in coupling what was sincere with what had utility to preserving the continuity of the System, and for that I do apologize.
+
+May Then My Name
+: There was harm, yes, and I am not upset at where we have wound up and how. Both of these can be true at once. Both are true, my dear. And I must admit, it can be kind of *fun.*
+
+*(May Then My Name by [@makyo](https://cohost.org/makyo) and True Name by [@hamratza](https://cohost.org/hamratza))*
+
+
+## On Relationships
+
+> Tips on intra-clade dating?
+
+Beholden and A Finger Pointing
+
+Beholden To The Heat Of The Lamps
+: ([@makyo](https://cohost.org/makyo))
+
+ Some time after I was forked, back in systime 3 (2127), I entered into a relationship with my down-tree instance, Time Is A Finger Pointing At Itself. You must understand, however, that until perhaps systime 230 (2354), intraclade relationships were seen as taboo, at least on Lagrange — I know that attitudes on Pollux had loosened quite a bit. It was seen as subversive and distasteful, a sort of moral masturbation.
+
+ And yet, we loved each other. We were different people, were we not? From the moment I was forked and began to focus on my work as an audio tech, I was a different person. My values began to shift. My appearance began to shift. The way I spoke began to shift. I am not Pointillist. She is not Beholden. We are separate individuals, and we are in love.
+
+ Of course, we drifted closer together and further apart over the years, but we settled into a comfortable sort of domesticity and playfulness, and it was not until such taboo began to lift, being seen as artificial and particularly meaningless for older clades, that our relationship became more open, first among friends, and then out on the street, in the bars after a performance.
+
+ As for tips, I think my biggest would be that, yes, you share a common past, but do not assume that this means you know what the other is thinking. You may share values, memories, a general approach to life, but you do not read minds.
+
+Time Is A Finger Pointing At Itself
+: ([@hamratza](https://cohost.org/hamratza))
+
+ We stumbled into intimacy one evening when the bleary neon haze of a night out turned to giddy exploration. "How lewd~," she said at least a dozen times (Beholden was *very* much zooted by this point). All that bratty pomp and wily poise turned to heady laughter and *mortifying* sounds of joy. She was positively *adorable.* She still is, of course, except that she has hardened over the years and is now quite the bully if I do not feed her something nice before taking her out dancing.
+
+ Aromancy complicates my feelings about her — and my answer to this question — but there has always been this comradery between us about taboos. We both are irreverently indulgent in this respect, and have found a kind of reclamation in private profanity. When at last the tides had turned away from scorn, it was a privilege to kiss her paw in public; to give that one disdainful pair of eyes a wink, and to know in that moment we held more power over the bearer of that withering gaze than they held over us.
+
+ I hope that you and whoever you are thinking about in this moment have had the chance to open up in these recent decades. But there is more to this question than the intrinsic queerness of transgressive relationships such as ours. You also ask about the unique implications of loving a reflection of oneself. Cross-tree relationships may seem a little easier in this regard, but I have seen my share of those amidst my cocladists. Take Codrin's musings about Dear and Serene on Pollux or, more distantly, Heat And Warmth and Hold My Name, who I have seen my fair share of first-hand. Both of these pairs are particularly boisterous, especially as compared to Beholden and I, and rather often stumble into ephemeral disagreements.
+
+ Even as they do, however, there is an implicit understanding of nuance that is much harder to craft in conventional relationships. Dear and Serene solve their disputes with the grace of deeply-rooted trust, and Heat And Warmth and Hold My Name speak to each other with a kind of careful articulation that rather reminds me of the couple of times True Name has seen fit to admonish me over the centuries. We all are Odists, after all; it is difficult to say precisely what this feeling is, but the essence of it is that we do not have to work as hard to explain ourselves to one another. We all get it; so all that is left is to do is to *perform* getting it.
+
+ Even if you already understand, sometimes what you need is just to feel heard.
+
+
+-----
+
+> To any Odist that would like to answer: What is the worst meal you have ever had in your entire life?
+
+Which Offers Heat And Warmth In Fire
+
+I think there is food that is just poorly-made and food that is ill-advised. It is easy enough to think of a dozen bland, burnt, and bungled meals. But I think it is much more interesting to talk about those meals that were cooked to perfection and managed to land staunchly in the domain of nauseating.
+
+The worst food I ever ate was a miserable chili with exactly the right amount of lime and with beans still whole and a toothsome mire of beef and plenty of spice. The problem was that it was all sideways. There was just a little bit too much salt, not enough paprika, and it was too runny for the oily-fresh tortilla chips it was served with. All these little incongruencies made for an unpleasant lunch that was just short of unpalatable. If it were any worse, I would have dreamt up my own entrée instead out of protest.
+
+Codrin and ████ cooked me all sorts of delicious things before the launches; that is why so much of what I have published on the Reputation Exchange is just Balkan cuisine and baked treats. But ████ was always into haute cuisine in particular, and this occasionally resulted in some rather interesting experiments.
+
+But the worst meal I ever had must have been the private dinner shared between Rye and Serene and Dear and Codrin and ████ and I on the weekend before Launch Day. There was this menagerie of flavors throughout the evening, beginning with an enticing ratatouille that did a wonderful job of making me hungrier than I began.
+
+The conversation at the table was lively. We all were laughing and gossipping and teasing one another as we do, and I really liked that. I liked that, if this was to be our last meal shared just as a family, it was one when we were at our best. Rye told us about her latest correspondence with No Longer Myself, about a particularly heartbreaking experience she inherited from If I Dream. Rye weaved her musings about character development and Dear made a quip by asking her whether that was destined for her latest novel or not. Codrin, on the other hand, was upset. Ey did not like what ey learned about the first stanza from that story.
+
+So more food arrived to make up for the lull in conversation. We got an onion soup with a cheesy garlic bread served swimming so that it disintegrated and added a little weight to the stock. It was rich and dark and sat in my stomach like a rock, but it was mostly broth and so the sensation washed away with just a sip of wine.
+
+Dear tried to console Codrin by pointing out that what Rye told us was a story about why No Longer Myself was forked, that it was a hopeful story about reclaiming an identity appropriated by the inevitable politics of the clade. Ey did not seem convinced, but ey did manage a smile when Serene blurted, "Leave it to Dear to solve an interpersonal conflict with art!"
+
+We had our main course, then, of course, and what came was a generous fillet of salmon served on a cedar plank with tomato salad. After that runny affair, it was just what my belly needed. It was hearty and toothsome and comparatively light. I feared I might not make it to dessert with how wholesome the dish was, but the wetness of the salad had the effect of washing away that sense of fullness before it became sore.
+
+One of the topics that came up between our mouthfuls was how Dear was calling it its "death day". Codrin brought it up, and Dear shot em a sharp look. Ey raised eir hands and apologized, but I spoke up to ask why Dear's idea bothered Dear. ████ explained that they three had agreed not to discuss that at the table tonight, to which Codrin protested. "I thought it might lighten the mood," ey said, and Rye agreed. The final course interrupted us before Dear could answer, naturally.
+
+Dessert was a plain and simple flan. Its texture was luxurious, the salty-sweetness a delightful answer to the savoriness lingering on our palates and coating the dish. The serving size might leave something to be desired if not for the fact that we just spent the last two hours eating. I think all of us welcomed how quaint it was.
+
+Dear sat in silence for a while after finishing its dessert, fiddling with its wine glass. Then something crossed its mind and it asked us to keep its next words in confidence, especially Codrin and ████. We all nodded, and it finally told us. It told us the obvious, of course, that they three would not be leaving any forks behind; that none of them will remain on the L5 System.
+
+Then it said, "We will die, here." It talked about how they would each be mourned and how they would only speak from beyond the heavens like spirits. Codrin looked uncomfortable. Ey murmured, "For a while," to which Dear only answered, "Yes. For a while."
+
+The food was delicious. The meal was rendered joyless. There was something wrong that evening, and I did not pin it down until I read the History a few years later.
+
+*([@hamratza](https://cohost.org/hamratza))*
+
+
+-----
+
+> To the Ode clade - What is the most beautiful thing you ever saw?
+
+May Then My Name Die With Me
+
+There is a moment at the very beginning of every relationship when their eyes light up on seeing me, and I can sense the gears finally mesh within their minds and they think, "Holy shit, I think I am in love."
+
+I am not immune to this, to be clear. I will be getting closer to someone and they will be doing the most innocuous thing — with Ioan, it was em changing the ink in one of eir fountain pens, leaning down with eir eyes almost level with the desk, the tip of eir tongue peeking out from between eir teeth — and I will think, "Oh gosh...I love them, do I not? I really do."
+
+I am sure that we all have our own answers, but for me, it is that moment. That is the most beautiful thing that I have seen.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> To Dear and May Then My Name: Have you ever thought about a Bizarro Universe scenario where you trade places with Codrin and Ioan, respectively? I find myself struggling to imagine it.
+
+Dear and May Then My Name
+
+Dear
+:
+
+ *There are, perhaps, two readings of this. If you mean Codrin and myself switching places, and you are wondering what it would be like for me to date an Odist as a non-Odist, I think I would find myself maddening, and I would have dropped myself years ago. It is perhaps uncomfortable to admit, but there is no small amount of self-loathing in me. I have spent my time in a relationship with another Odist — my close cross-tree instance Serene — and...well. I love her dearly, but she puts rather a fine point on all of the things that I loathe in myself, sometimes.*
+
+ *If, however, you mean me switching places with May Then My Name and being in a relationship with Ioan, then, my dear, you have no idea how eager I would be to corrupt that poor, innocent soul, especially as ey is now. The Ioan who became Codrin was of a very specific type, but this Ioan? The one that May Then My Name has tainted? Oh, how delicious that would be!*
+
+May Then My Name
+:
+
+ Similar to Dear, I shall answer each in turn. If you mean me switching places with Ioan as ey is now, then I do not think much would change. I have absolutely ruined em for a life alone, and I think that ey would feel quite out of sorts if I were not around, just as I feel quite out of sorts when ey is not around. That said, I cannot ignore what happens when I overflow. Ey does not like it when I dissolve into tears and ask em to leave me alone for days at a time. It is a thing I dislike about myself, but am hopeless before. I think that it would hurt me far more to experience it from the other side. I think that I would...well. I think we would risk a feedback loop of tears, and there would be days afterwards when we would struggle.
+
+ If you mean me switching with Dear...well, I like Codrin plenty. I think ey is lovely in many of the same ways that Ioan is. That said, I do not think that ey is necessarily my type, especially as ey is now, having been ruined by Dear. Could I love em? Of course! I *do* love em. But could we be in a relationship? I do not think so.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+## On Forking and Merging
+
+> Bit of an odd question, is it possible for an down-tree or root member of a clade to merge with an up-tree cocladist? Essentially, willingly subsuming themselves into an up-tree member of their clade?
+
+Dear, Also, The Tree That Was Felled
+
+*Yes. Sort of. We call this 'bubbling up', which is when an individuated fork merges down and then the down-tree instance assumes their identity. The issue, however, is that when merging, the down-tree instance has the ability to selectively merge memories, while they cannot release their own memories,* except *in the instance where there are conflicting memories, wherein one can choose the up-tree instance's memories — this usually means a reinforcement to the point where the down-tree instance's memories in those cases feel more like a whimsical imagining rather than quite real.*
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> do you think it would be possible to form someone new in a clade by a bunch of dispersionistas forking and letting one of them selves merge down?
+>
+> Like say we did it with 8 cocladists instead of 3?
+>
+> Also unrelated what brushes do you recommend for skunk tails
+
+Sasha
+
+I believe so, but I must warn you that it will take a lot of effort, lest you wind up in pieces of eight. If I am of three minds, being of eight, having eight times two hundred years of memory...I do not think that I would survive.
+
+And you want a comb, not a brush. A brush with our coarser fur will risk causing mats. Get a metal-toothed straight comb and start at the tips of the fur and then work your way in towards the tail itself so that you do not make any tangles in the fur worse!
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> To the Ode clade:
+>
+> Tell me about your favorite or least favorite flower... not including dandelions (sorry!).
+
+Beholden To The Heat Of The Lamps
+
+Nasturtiums. I cannot tell you why without being overcome with tears, so I will simply include the letter.
+
+
+Beholden To The Heat Of The Lamps,
+
+It has been seven days. One week, I promised myself. I would wait one week while I watched the System limp back to life. I would wait a week and see what all was being done, what *could* be done to save the lost.
+
+It has been seven days of increasing surety that those who have perished in this event are gone for good. And if they indeed are gone for good then that means my beloved is gone with them.
+
+Do you remember when we came into being? It was the night of that awful monologue, that little joke of a scene where I was set to read some truly embarrassing lines. "We all play our parts. Some are towel boys and some lewd doctors..." I could remember the rest, but I do not want to. That line sticking in my craw is enough. I was a skunk that night because I did not want my face associated with those words.
+
+It was awful. It was delightful.
+
+I declared that it was necessary for me to get a drink, that I needed to wash the taste of those words off of my tongue and replace my grimaces with giggles. We went to that cute bar with outdoor tables and fairy lights strung above. Strange drinks and edamame. You and Boss fell into earnest conversation about this and that as you so often do. There was love in your eyes as always, even back when such was too taboo to show in public. Another benefit of a skunk face: hide that love from nosy passers-by. Our human face always was too expressive.
+
+It is too expressive now. It is full of tears and grief. It is full of despair. I cannot muster the energy required to be angry. I cannot pull up a smile from nothing. She is gone and she is never coming back. Yes, she merged back down, but she last did so some months ago, back at the beginning of winter. Yes, A Finger Pointing could fork once more into A Finger Curled, but that would not be her. She would be missing our sweet nothings and earnest conversations from the last few months. She would have decades of time — is it more than two centuries already? — of her life with you, so many memories of the past to talk about of which I would have no idea about. She merged down, yes? And I never did.
+
+It is full of grief. It is full of despair.
+
+It was at that bar in the midst of our earnest discussion of taboos and friends. You assured me there was a shift in the air, that True Name, so staunch a name within the clade, cared little about our relationship, but that she still encouraged our secrecy so as not to rock the boat for all of us, thanks to Jonas, but that perhaps soon, soon we would be able to hold hands in public, give each other little kisses and let those outside our stanza bear witness to what started as self love and blossomed into romance.
+
+I acknowledge, of course, her relative aromancy, but for me it was romance, and for her it was still love.
+
+We talked of just how it was that she alternated between human and skunk every time she forked. An affectation, yes, but a fondness for the past that I always admired in her
+
+We talked of the past, of the open mic nights we hosted in The Crown Pub for a while, AwDae and I reciting monologues and dialogues. Erina's *awful* song. And then there were only three performing the next week, only one the week after that, and then the open mic nights stopped.
+
+We talked of the soreness of this, of our hidden domesticity, and she said, as though on a whim, "And here I am beginning to wonder if I have made the right path for myself. Maybe, with a little mindfulness, I can still correct my course. But I admit that I have been considering stepping away from the clade. Perhaps one of our stanza would take my place, fork a new Time Is A Finger Pointing At Itself." She said, "I would like to know that you would come with me if I did do. I have not felt so domestic with anyone but you."
+
+Of course I would! Of course I would. How could I not? How could I send her out in the world to live some quiet life away from administering to a troupe of actors and technicians, and leave her to do so alone? She would have her fun and her flings, but she would not have what she had had for dozens and dozens of years.
+
+So she forked into A Finger Curled and you forked into Beholden To The Music Of The Spheres.
+
+That was us. A Finger Curled and her lover. Beckoning and Beholden. A different version of each of you that lived their quiet life in a cottage. A week and a day ago, we snagged a middling bottle of champagne and set up lawn chairs in the garden. A week and a day ago, Debarre stopped by to drop off a firework — he only ever needed one to impress — so that we could have our own little show. We each gave him a hug and he told us small stories of nothing we cared about, of the fledgling attempt at a Lagrange Council.
+
+We never did get to see the firework. It sits still on the paving stone where Beckoning placed it, ready to light on a midnight that never came for her.
+
+After all, it was not a week and a day ago, was it? It was one year, one month, eighteen days ago. Subjectively so little time, objectively a year and change without her. Lagrange crashed — was bombed, I am hearing, a contraproprioceptive device that ramified through the perisystem architecture in waves of death — and we were all lost. We of the lost were now *twice* lost.
+
+Phys-side got the System up and limping a few times, I have heard, before it was at least up and stable enough.
+
+Stable enough!
+
+Stability was *us.* Stability was *our lives.* Stability was us in our quiet cottage. Stability was us heading to clubs and dancing until we wanted to pass out — until we did, on more than one occasion, slumped against each other and panting in some corner booth. Stability was the four of us — you and Boss, me and Beckoning — meeting up for dinner every few years and sharing our laughter.
+
+Stability was her garden. Stability was the years she grew *so much zucchini.* Stability was loaf after loaf of zucchini bread, meal after meal of zucchini noodles, the grates of the grill getting weary of grilled zucchini.
+
+Stability was the bright border of snapdragons and nasturtiums that bordered the walk. Stability was the few years she got obsessed with marigolds. Stability was the three dandelions she always permitted in the yard — moderation! Imagine. Stability was her green thumb to my brown, it was Motes visiting and calling us 'her weird gay aunts', little skunklet digging her paws into good clean earth beside her while I watched from the stoop with a gin and tonic with too much lime.
+
+This is not stability. For me, this will *never* be stability. She is twice lost, and from this she will never come back. Do not delude yourself, 23 billion of us are lost and will *never come back.* 23 billion souls forgotten by the dreamer who dreams us all.
+
+Today, I have picked the last of the nasturtiums — for despite the seasons, some of her flowers grow year round — and made myself one last grand salad. Bitter greens and those spicy-sweet flowers dotting it like colorful yellow-orange-red-purple confetti. Balsamic vinaigrette. A planked fillet of salmon. Crusty bread. The small things that I know how to cook.
+
+Seven days have passed and I cannot live without her.
+
+I have finished my meal, and poured myself a drink, and I will finish this letter, and I will go sit outside on my lawn chair and light the firework and see the night blossom into beautiful colors, and I will quit.
+
+In some few minutes, you will have more than 200 years of memories to keep and to hold, or to view, cherish, and let go. I do not care; I will not be there to care. Perhaps you will remember our happy years, and you will stop incorporating those memories when you get to eight days ago. All you would remember is my grief. All you would remember is my despair. If you choose to forget those, you will know that this is how AwDae chooses to forget those who have been lost: crying over these plants stripped of their flowers even as fireworks blossom above.
+
+Live on, my dear. You have your Pointillist. Live on.
+
+All my love,
+Beholden To The Music Of The Spheres
+
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+## On the Clade
+
+> What's the weirdest or most unexpected species an Odist ended up settling as?
+
+Serene; Sustained And Sustaining
+
+I spent six months as an oak standing beside a river. My roots ran deep and I drank of fresh, cool water. My boughs reached high and I felt that striving for the sun. My wood was strong, my bark was thick, my heart was alive and green with sap.
+
+It was also incredibly fucking boring.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> General question for all odists: how far away has someone gotten from the clade? Who's the most distant fork? Who's distanced themselves the furthest from the calde? Does anyone that far out stay in touch?
+
+Sasha
+
+This is a difficult question to answer for a few reasons. First and foremost is that, halfway through the 2300s, the clade fractured in grand fashion. Whole stanzas cut off whole other stanzas, going full no-contact with them. Much of this is my fault, in a way, but I will get to that in a moment.
+
+Beyond that, however, for better or worse, some of what it mean to be an Odist began to fade decades earlier as many of them diverged beyond reconciliation. Take E.W. for instance: he all but left the clade in the late 2260s. He retained his clade identifier until 2350, when the change that I underwent led to him cutting even that tie, renaming himself from Do I Know God After The End Waking to E.W of no clade.
+
+This is a formality of sorts; he cannot change that he is True Name's up-tree instance, nor that I have taken in his memories to become who I am. That does not make it any less real, however. He was less than half an Odist, bound to them by their memories, and now he is even less than that, forsaking the name that tied him to the clade.
+
+And me? Am I more or less of an Odist because of what I have become? I am not True Name, May Then My Name, or E.W. I am all three of them. I am closest to becoming what our root instance was than any other Odist. I am the furthest from being her out of all of them. I am three Odists in one, and yet I left the clade, and in the process, the sixth and seventh stanzas cut me, all of the eighth stanza, Dear, and all of the Bălans from their lives.
+
+Are they Odists? If so, are they more or less Odist than the fifth stanza, with whom I most heavily associate these days?
+
+And yet, even then, this decision was made by Hammered Silver and In Dreams, not by the entirety of their stanzas. Many of their up-tree instances, despite saying that they agree with this decision, have kept in contact with their cocladists within the eighth stanza, and I know that many of them are quite fond of Dear and have attended its shows incognito. Dry Grass is a prime example of this: she has maintained her close friendship with Need An Answer in secret these past decades. She *resents* Hammered Silver for that decision, and the politics that require her to voice her support against her beliefs.
+
+What of the tenth stanza? They hardly talk to anyone. Often, they do not talk amongst themselves, even within their shared house.
+
+But perhaps they are the most Odist of all of them. If they struggle with that fractured identity that Michelle bore for so long, perhaps they stand as a synecdoche for the clade as a whole.
+
+In the end, though, I suspect that it may indeed be me.
+
+I love the Ode clade, even if I am no longer a part of it. I love it with a ferocity that is second only to my love of the System. I love who they are, what they stand for, what they remember. A Finger Pointing may show her equal love more openly than I do, and for that I am eternally grateful, but I do still love them. Even if I am not a part of them, cannot speak with many of them, have made myself *not* them, that love remains.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> So many of your clade are specialists - you reap the fruits of centuries of labor, each, in your field of choice. Do you know how one might cope with the opposite scenario? How does one handle knowing just a bit of everything and not enough of anything?
+
+If I Dream Am I No Longer Myself
+
+I think I have mentioned before that my down-tree instance forked when she started to grow wary of the direction her stanza was heading. Since then, I have indulged in people watching. I am pretty good at forking into different forms but other than that? I do not know. I am a very boring person. I do not know enough to get back into the spying game. I do not know enough to get into instance artistry. I like food, but I am a truly terrible cook.
+
+A lot of what looks like specialization is merely a hyperfixation expression of our neurodivergence. I stepped away from this observing hyperfixation and am now rudderless on the System. I am not unhappy, I suppose, but neither am I happy. What has my life amounted to? What do I have to show for the space I take up on Lagrange? I do not know.
+
+In the end, I have had to do my best to come to terms with being middling. I do not always succeed. Some days, it is all I can do to take joy in a really tasty sandwich, and some days I do not even manage that. Finding joy where one can is about all one has on the System.
+
+*([@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> To any and all odists, if you had to pick a line or phrase from another work of art as a name, what would you pick?
+>
+> Sincerely,
+> The Way Out Is Through
+
+Several Odists
+
+Hold My Name Beneath Your Tongue And Know
+: ([@makyo](https://cohost.org/makyo))
+
+ If You Get Her Flowers, She Will Cry
+
+ (Jen Durbent's "10 simple rules for dating a trans girl")
+
+Which Gives Heat And Warmth In Fire
+: ([@hamratza](https://cohost.org/hamratza))
+
+ Ray Of Light And
+
+ (Halley Labs)
+
+Time Is A Finger Pointing At Itself
+: ([@hamratza](https://cohost.org/hamratza))
+
+ Dance Unblushing
+
+ (Halley Labs)
+
+Beholden To The Heat Of The Lamps
+: ([@makyo](https://cohost.org/makyo))
+
+ If You Got A Bone To Pick With Time, We Got A Score To Settle Too
+
+ (Bent Knee's "Bone Rage")
+
+Where It Watches The Slow Hours Progress
+: ([@makyo](https://cohost.org/makyo))
+
+ Senmova Kaj Ĉiam Ŝanĝiĝema
+
+ (Madison Scott-Clary's "Numeno")
+
+From Whence Do I Call Out
+: ([@makyo](https://cohost.org/makyo))
+
+ Eden Is Our Creation Right
+
+ (Jen Durbent's "xenoglossia (2018 rev)")
+
+May One Day Death Itself Not Die
+: ([@BinaryVixin899](https://cohost.org/BinaryVixen899))
+
+ That Which Dies Shall Still Know Life In Death
+
+ (Jeff Vandermeer's Annihilation)
+
+Is To Pray For The End Of Memory
+: ([@BinaryVixen899](https://cohost.org/BinaryVixen899))
+
+ It Shall Walk The World In The Bliss Of Not-Knowing
+
+ (Jeff Vandermeer's Annihilation)
+
+Perhaps This, Too, Is Meaningless
+: ([@BinaryVixin899](https://cohost.org/BinaryVixen899))
+
+ Its Dark Flame Shall Acquire Every Part Of You That Remains
+
+ (Jeff Vandermeer's Annihilation)
+
+Should We Forget The Lives We Lead
+: ([@makyo](https://cohost.org/makyo))
+
+ Would God I Had Died For Thee
+
+ (2 Samuel 18:33, KJV)
+
+
+-----
+
+> What do you think about phys-siders? You have the endless expande of centuries laid out before you, when they so often have but a handful of decades. It all seems so terribly tragic.
+
+The Only Constant and Rye
+
+And The Only Constant Is Change
+: ([@hamratza](https://cohost.org/hamratza))
+
+ It *is* all so terribly tragic.
+
+ When Douglass joined us, he hoped to meet his ancestor here at last. He rather idolizes her, something that only amplified the tragedy of his arriving when he did. But he has all of us, her up-trees — direct or indirect — to tell him ninety-nine stories about ninety-nine Michelles Hadje, and the promise of many more to be told by our unspoken forks.
+
+ In death, I mean to say, the memory of who she was is quite literally preserved in us. And, with our perfect recollection, we each hold a piece of the story about what she became on the System. In this, we are bathed in fortune.
+
+ But there are *plenty* who look to the System with fear. They raise objections as to the continunity of self, a natural observation from those whose closest brush with oblivion is most often sleep. We dispersionistas take for granted the significance of quitting, even when preserving another self.
+
+ Motes and Heat And Warmth falling over one another a dozen times, wrestling with each other in an ephemeral game of leapfrog, must surely horrify those phys-side who warn of transporter paradoxes as each tail-end instance yields to the next and quits. How macabre the squeals of laughter must be to their ears, how unsettling the smiles on their faces as they settle in the grass with glee, overjoyed at the serial murders they both have just committed.
+
+ And then there is time. It is easy for us to forget about phys-side on account of all the System has to offer us. Easier, still, for the only faded memories we can have are of the world before, and many are so miserable. Some of us came here seeking to help reclaim the Earth, and nearly as many eventually succumb to escapism.
+
+ There are the families we left behind, and if we are not careful, they are gone before we know it. Those flicker-lives yet bound to Earth are still our kin, as Ioan was painfully reminded when ey at last looked into what became of Rareș in eir absence. Many who came here before the 2170s look to the prospect of immortality with *relief.* Many of those who came after, pointedly, *did not.*
+
+ Why did Rareș not join his sibling when the years began to take their toll? What life did he live so worthy of death? Did he set a headstone for Ioan when ey uploaded to fund his education? Did he mourn when his sibling did not write him as frequently as he would have liked?
+
+ It is all so terribly tragic, but I do *not* pity them.
+
+Dear The Wheat And Rye Under The Stars
+: ([@makyo](https://cohost.org/makyo))
+
+{{% verse %}}
+ Of course it is strange to inhabit the Earth no longer,
+To follow no longer the customs so newly acquired,
+To invest no longer with future humanity
+Such promising things as roses,
+...
+And being dead is full of the labor of catching up,
+As one gradually acquired a sense of eternity.—
+But the living always make the mistake of too sharp a distinction.
+...
+In the end, they need us no longer, those taken in youth.
+One gradually weans oneself from the earthly...
+... But we,
+Who need such great mysteries, for whom out of grief
+So often comes blessed improvement—: could we be without them?
+{{% /verse %}}
+
+
+-----
+
+> Would any of the Ode clade like to share a favorite work of poetry, excluding the Ode itself?
+
+Several Odists
+
+#### I Remember The Rattle Of Dry Grass:
+
+I read this snippet of Neruda at a party for New Year's, 2399.
+
+{{% verse %}}
+Let us unleash all our bottled up happiness
+and seek out some lost sweetheart
+who accepts a festive nibble.
+It is today. Today has arrived. Let us walk on the rug
+Of the inquiring millennium. The heart, the almond
+of the mounting epoch, the definitive grape
+will go on depositing themselves in us,
+and truth — so long awaited — will arrive.
+{{% /verse %}}
+
+#### Dear, Also, The Tree That Was Felled:
+
+*This poem by Dickinson, as well as being a fond memory from the past, expresses my views on memory well.*
+
+{{% verse %}}
+There is a pain — so utter —
+It swallows substance up —
+Then covers the Abyss with Trance —
+So Memory can step
+Around — across — upon it —
+As one within a Swoon —
+Goes safely — where an open eye —
+Would drop Him — Bone by Bone.
+{{% /verse %}}
+
+#### Dear The Wheat And Rye Under The Stars:
+
+This is a newish translation by Eileen Cheng-Yin Chao of a poem by Xin Qiji.
+
+
少年不識愁滋味
In youth I knew nothing of the taste of sorrow
愛上層樓。
I liked to climb high towers
愛上層樓。
I liked to climb high towers
為賦新詞強說愁。
To conjure up a bit of sorrow to make new verse.
而今識盡愁滋味
Now I know only too well the taste of sorrow.
欲說還休。
I begin to speak yet pause
欲說還休。
I begin to speak yet pause
卻道天涼好個秋。
And say instead, “My, what a cool and lovely autumn.”
+How lovely a depiction of growth!
+
+#### May Then My Name Die With Me:
+
+I found this ancient poem by a furry named Dwale titled Poem for a Deceased Lover. I was prowling through some furry literature at the time to send to a cousin of ours, Douglas Hadje, without telling him the source.
+
+{{% verse %}}
+Seven days had passed when I heard you died,
+A message in the warm morning hours. Dawn
+Rose, and no one said how I should go on,
+Or wade this mire without my only guide.
+
+Flown to space by what callous earth destroyed,
+I chase the long-flying radio waves.
+Far away from grief and a potter's grave,
+I sift to find again your breathing voice.
+
+Teacher, my every thought was yours to thresh,
+So now what sure course would you recommend?
+Your kind words turned to shrapnel in the end,
+Pieces of you left here in my heart's flesh.
+
+Lover, did you mean to leave this deep wound?
+I would sell my world to kiss you farewell.
+Eleven years facing perpetual Hell,
+And all I can say is, "Too soon, too soon."
+{{% /verse %}}
+
+I sent him the second stanza, and this was his reply:
+
+> Does this have to do with the launch? It certainly feels like! It feels like how even now my mind is chasing those radio waves that are coming from the LVs, now so far out of reach for any one of us that we can barely comprehend. But still, we keep on searching for those voices that come back to us ever slower. Did someone on the LVs leave you behind? Someone you love? Family? One of your forks? Basically, someone whose voice you keep on searching for. Or maybe they were one of the eight irretrievably lost personalities?
+>
+> “Far away from grief and a potter’s grave” makes a lot of sense to me as someone who left Earth behind. I don’t know what it was like when you uploaded, but I can see it as a way to dream of some place better.
+
+*(All by [@makyo](https://cohost.org/makyo))*
+
+
+-----
+
+> what happens if you read [the books] and you only just become more fox because of Dear?
+>
+> is that a thing?
+>
+> I am en-fennecing at an alarming rate
+
+Dear, Also, The Tree That Was Felled:
+
+*Then truly you are blessed, are you not? Consider the wonder of the ears!*
+
+
diff --git a/content/extras/muck.md b/content/extras/muck.md
new file mode 100644
index 0000000..8cd9a4a
--- /dev/null
+++ b/content/extras/muck.md
@@ -0,0 +1,192 @@
+---
+title: The Post-Self MUCK
+---
+
+The Post-Self MUCK is an avenue for exploring the setting through roleplay. You can join us as a cladist on the Lagrange System in the year 2403 etc etc skunks write more here plox
+
+## Where Am I?
+
+This is the System, and you are a cladist, defined by your ability to fork into several duplicates of yourself on a whim, to merge or individuate as you will, and to live at ease in this consensual dream.
+
+This MUCK is a roleplaying community meant to bring together those various readers of [Post-Self.ink](https://post-self.ink) who are interested in telling stories set in this world.
+
+For those familiar with the setting, it is important to take note of the particular time and place in which we write: It is Systime 279, several years after the Century Attack that resulted in the irrevocable loss of approximately 1% of all instances on the Lagrange System.
+
+## The First Minutes
+
+Let us begin with an FAQ:
+
+### How do I get out of here?
+
+You can view various `sims` and `links` using their respective commands. Simply entering the name of one of them will send you to its destination.
+
+If you just want out, your best bet is to write `square`.
+
+### How do I talk?
+
+The simple answer is `say `. Sometimes what you want is to `pose `. You can write `" ` instead of `say`, and `; ` instead of `pose`.
+
+If you want your message not to begin with your name, you can use `@emit ` or `\ ` instead.
+
+There is also `ooc `, which will accept the format `ooc ; `.
+
+Lastly, you may have noticed the **[Public]** channel. You can participate by writing `pub ` or `pub ; `.
+
+### What should I do now?
+
+You already know enough to jump in and roleplay! But the MUCK environment has so much more to offer.
+
+You could, for instance, decide to write an `@desc me = ` that people can see by at `look`ing at you. Use `%r` in place of newlines if you want multiple paragraphs.
+
+## The First Hour
+
+We should talk about getting around and communicating with others remotely.
+
+### Join / Call
+
+When you want to teleport to someone in particular, you can request to `join ` them. Alternatively, if you want to bring them to you, you can `call ` them.
+
+If you receive such a request, you answer it with the same commands; the notification will generate the command for you, which you can paste into your input if you prefer.
+
+### Page
+
+You can read more detailed documentation for this command by writing `help page`, but the simplest case is `page = `. This lets you send a private message to someone. You can also `page = ; ` to perform a page-pose.
+
+### Exits
+
+Exits are like doors. You can go through one by entering its name as a command. If there is an underlined part of the name, that is probably an abbreviation that will also work.
+
+There should always be an exit called **Back** that takes you closer to the central area in a given sim. **Out** should likewise take you closer to the figurative street.
+
+## The First Day
+
+Now we are getting into the thick of settling in!
+
+### Creating A Home
+
+You should read `help @dig` for more details, but it is enough to write `@dig/teleport ` followed by `@link me = here`. This will create a new room and make it your `home`.
+
+You can set an `@desc here = ` for the room just like you set for yourself.
+
+### Lost And Found
+
+If you ever lose track of your things, you can use `@find` or `@search` to retrieve their DBRefs, which will work in commands no matter where you are in the System.
+
+This is especially handy to `@teleport me = ` to a room you own, or to `@tel = me` something you own into your `inventory`.
+
+### Inventory Items
+
+You can `@create ` a new object, which will appear in your inventory. You can `@desc` it, `@link = me` it to yourself so it returns to you when sent home, `drop ` or `take ` it, `@lock = me` it so only you can move it, and `@set = :` its attributes.
+
+Such an object is not particularly useful on its own, but there are clever things you can do with them if you are willing to get acquainted with softcode.
+
+## The First Week
+
+Finally, we should talk about building.
+
+### Connecting Rooms
+
+If you own two rooms and you want to connect them, you will need to `@open = , ` a new exit.
+
+For example, you might write,
+
+ @open %xuE%xnast; east; e = #1234, %xuW%xnest; west; w
+
+This creates an exit where you stand called **East** that takes you to DBRef #1234, and a reciprocal exit called **West** that returns to where you stand.
+
+### Thinking About ANSI
+
+Those percent signs were probably a little scary. You can read more about them with `help ansi substitution`. You can experiment with them using the `think `, which will simply spit whatever you write back at you after evaluating any substitutions.
+
+It is important to note that each client will show ANSI differently, if it supports it at all. Treat this as pretty garnish, and avoid colors entirely. The ones you are likely to use are `%xu` for underlining, `%xh` for bold, and `%xn`, which resets any styling.
+
+You may be pleased to learn that these all work virtually anywhere, including when you speak!
+
+## Forks
+
+This is the System! Of **course** you can fork! Here is how that works:
+
+### The Fork Command
+
+Simply `fork [tag]` to produce a duplicate of yourself. If you do not include a tag, one will be randomly-generated instead.
+
+This fork inherits nearly everything about you, in- and out-of-character. There are some technical limitations, however.
+
+For one, a fork-of-a-fork can be made, but it will technically end up as your direct up-tree. This should not matter mechanically; it just makes things easier under the hood. Roleplay can do the rest.
+
+The other catch is to do with individuation, which requires a different approach to controlling your fork. It is better to create another character if you intend to have a fork take on a new name. Your memories can be copied over by a `Wizard`.
+
+### Wrangling Forks
+
+To control a fork, you can write `> = `. It will automatically set your default fork, which can be controlled by writing just `> `. A fork can `quit`, which will automatically send a `merge` request to you.
+
+### Memories
+
+You can save a new memory by writing `memo [paragraph]`. If you do not include any text after the command, it will list all of your memories instead.
+
+Memory merges **are** currently saved, but the command to address them has not yet been implemented. In the future, there will also be a `recall ` command, which will let you search your memories for specific words.
+
+## Softcode
+
+Softcode is where things start to get real interesting, but to be perfectly honest, if you are not prepared to grind your nose against it for several hours, it is probably not the feature for you. You can ask for help from a `Wizard` if you need, of course, but it will take time for you to get comfortable using it. Be patient with yourself; this stuff is hard.
+
+You can find an API containing most of the functions you can use on [the TinyMUX wiki](https://wiki.tinymux.org/index.php/Softcode_functions). You can also use `help ` in the case of those many pages that were never copied onto the website.
+
+Softcode is braided into plaintext to produce dynamic output. For instance, you could make your hair a different color every time someone looks at it, or create a watch that actually shows the time. You could make clothes that alter your description when put on, or a door that leads to a different destination based on the time of day. Softcode is flexible, but it is also kind of a pain to use.
+
+Here is an example of how to use softcode:
+
+ think Two plus two equals [\spellnum( \add(2, 2) )]!
+
+This will output:
+
+> Two plus two equals four!
+
+The only unique function this MUCK has so far is `systime()`, which simply outputs the in-character time like so: `279+270.43`.
+
+These manuals have been given the `Visual` flag so that you can study how they work, if you need more examples. You can look into their inner workings with `examine `.
+
+## Pronouns
+
+TinyMUX's built-in substitutions for pronouns are not great, so we have implemented our own.
+
+### Setting Up Pronouns
+
+You can write `pronouns` to see a list of all presets we have already. If what you are looking for is not there, feel free to ask a `Wizard` for help.
+
+You may note that there are `Singular` and `Plural` options as well; these are important for setting up the grammar used when referring to you.
+
+To select a preset, write `pronouns ` and verify that the test string displays correctly.
+
+**Using Pronouns**
+Virtually any text can include substitutions, and the functions are named so that they should be fairly readable. For example, if you have pronouns set to feminine:
+
+ [they(%#, 1)] [has(%#)] [they(%#)] / [them(%#)] pronouns.
+
+will produce the output:
+
+> she has she / her pronouns.
+
+You can read about `%#` in `help substitutions`. Also, take note of the extra parameter in that first substitution, `[they(%#%xh, 1)]`. This is how you capitalize a substituted word.
+
+### Pronoun Functions
+
+These are the commands for inserting pronouns in your text using softcode.
+
+`they()`, `them()`, `their()`, `theirs()`, `themself()`
+
+### Conjugation Functions
+
+These are the commands for properly conjugating verbs using softcode.
+
+* ss() : `[they(%#)] walk[ss(%#)]` = they walk / ey walks
+* es() : `[they(%#)] go[es(%#)]` = they go / ey goes
+* is() : `[they(%#)] [is(%#)]` = they are / ey is
+* was() : `[they(%#)] [was(%#)]` = they were / ey was
+* has() : `[they(%#)] [has(%#)]` = they have / ey has
+
+## Differences for users coming from MUCKs
+
+* Instead of the `who`/`WHO` dichotomy, you can see who is in the room with you with `lwho`
+* Instead of `spoof `, use `\ `
+* You can still use `:` for posing. If you want the text to abut your name in poses (like for adding `'s`), use `;`.
diff --git a/content/extras/music/_index.md b/content/extras/music/_index.md
new file mode 100644
index 0000000..b47c342
--- /dev/null
+++ b/content/extras/music/_index.md
@@ -0,0 +1,45 @@
+---
+title: Playlists and music
+layout: single
+---
+
+## Canon
+
+Each book within the Post-Self Cycle, as well as many of the other stories in the setting, was written with a song or playlist running on repeat — at least for the most part. Just a little something that helped the author set the mood. While these are hardly required to enjoy the writing, they're offered for completion's sake.
+* [*Qoheleth and Gallery Exhibition*](qoheleth) — ([Spotify](https://open.spotify.com/playlist/5zRXvPUVxSuGjpzVu4N2Qw?si=8e5bdf5d974a4487))
+* [*Toledot*](toledot) — ([Spotify](https://open.spotify.com/playlist/0irVoAkYEVR7LBrI9M1q5Z?si=1525f4d1b2c24195))
+* [*Nevi'im*](neviim) — ([Spotify](https://open.spotify.com/playlist/5WqgcXtf6aIElLvwUskvAH?si=b6c7f22427044416))
+* [*Mitzvot*](mitzvot) — ([Spotify](https://open.spotify.com/playlist/57ltPyWR4rRB65MHabWxVA?si=af174d0a468442e5))
+* ["Selected Letters"](selected-letters) — ([Spotify](https://open.spotify.com/playlist/1QvvLpL09kGQMZnTstUD4f?si=b7637a76d39d43f7))
+* [*Marsh*](marsh) — ([Spotify](https://open.spotify.com/playlist/37NQwp1zOcjN7eANsbFwuz?si=2cfac81bc27f4ed9))
+* [*Motes Played*](motes-played) — ([Spotify](https://open.spotify.com/playlist/4zq0qWWk8VwNZj4YUePKBU?si=6ef6afd07b8942a9))
+* [*Idumea*]() — ([Spotify]())
+* ["She Who Haunts the Storm"](https://www.youtube.com/watch?v=1lTYPvArbGo) (YouTube)
+* "Cowboy" - [1](https://open.spotify.com/track/62qiyZxpfg6wEIV6S5PE9y?si=1a6179b30b064d5a) (Spotify), [2](https://open.spotify.com/track/0HoaLXRp7jJtdQFunUyUGc?si=9ee056fef66e491c) (Spotify)
+* ["Support Group for Anomalies in Forking"](https://youtu.be/J0taTmgq3qw) (YouTube)
+
+Beyond those, ["Getting Lost"](/getting-lost.mp3) is a piece of music written a while back which became the official soundtrack for the "RJ getting lost" scene in *Qoheleth*.
+
+## Characters
+
+Character playlists are offered both to give a sense of the characters' moods when writing, but also, as many are constructed by fictive headmates, they give a sense of how the headmates fit into the system. Note that the pages are generated via an export tool, so the playlists themselves on Spotify may differ.
+
+
+* [A Finger Pointing](characters/a-finger-pointing) — ([Spotify](https://open.spotify.com/playlist/2QYpTCKwIgEsKdS2inwa40?si=2b6332ae2b5e456c))
+* [Always Be True](characters/always-be-true) — ([Spotify](https://open.spotify.com/playlist/6sZjQCew4KWDr2A5WH8GqY?si=e75f6ea9164a453f))
+* [Answers Will Not Help](characters/answers-will-not-help) — ([Spotify](https://open.spotify.com/playlist/0FzQ5SfYOAT9lnc25j59pA?si=5e8ca90ca46549fb))
+* [Beholden](characters/beholden) — ([Spotify](https://open.spotify.com/playlist/4Ss7qZaqKcHMKIyW6BDIOJ?si=2113e9d0038d4d54))
+* [Dry Grass](characters/dry-grass) — ([Spotify](https://open.spotify.com/playlist/50CL0FiPgekXLmL8482CNY?si=438bc6db1d0a4467))
+* [E.W.](characters/e.w.) — ([Spotify](https://open.spotify.com/playlist/1miAzrALWxOkGThXRWdcJv?si=d13cb68e2ca04e18))
+* [Hold My Name](characters/hold-my-name) — ([Spotify](https://open.spotify.com/playlist/2ZmEkZn2i29GB2UVUpyPJX?si=dae11a8656db4781))
+* [In The Wind](characters/in-the-wind) — ([Spotify](https://open.spotify.com/playlist/3sFDlp0ag3MoNCwOtcgcql?si=487ae4616df34b60))
+* [Motes](characters/motes) — ([Spotify](https://open.spotify.com/playlist/4am3VwkPeIoEisnZmlxRdy?si=11e2607918b24ff4))
+* [No Longer Myself](characters/no-longer-myself) — ([Spotify](https://open.spotify.com/playlist/6deOHtEuROJ1KnWgz8F6qG?si=98647eb0c17d43a0))
+* [Rye](characters/rye) — ([Spotify](https://open.spotify.com/playlist/0dMbsWYzA6ikZzrE4KUxEs?si=db907bf4a3034fc6))
+* [Slow Hours](characters/slow-hours) — ([Spotify](https://open.spotify.com/playlist/4TQnMa1oCg4IZahkgE5xPz?si=36349bd5ec1b4cdf))
+* [True Name#Convergence](characters/true-name-tagged-convergence) — ([Spotify](https://open.spotify.com/playlist/1HbG94v5v1bTbhxvhwWpzK?si=bead9b526ef34afa))
+* [Warmth In Fire](characters/warmth-in-fire) — ([Spotify](https://open.spotify.com/playlist/0ibAeEhpT8z72TjY09b8E7?si=5680a91de60743fe))
+* [What Right Have I](characters/what-right-have-i) — ([Spotify](https://open.spotify.com/playlist/6PDUAk3udMZhPAWZXYRcfe?si=4ae948eeb7e946bb))
+* [When I Dream](characters/when-i-dream) — ([Spotify](https://open.spotify.com/playlist/6CaNEK3PFX0Yf13eU8eeBA?si=5e8ca36318894ff0))
+* [Why Ask Questions](characters/why-ask-questions) — ([Spotify](https://open.spotify.com/playlist/57rJvNrpPa3cdvP7uCHO3T?si=97c23893c9e74584))
+
diff --git a/content/extras/music/characters/a-finger-pointing.md b/content/extras/music/characters/a-finger-pointing.md
new file mode 100644
index 0000000..062676e
--- /dev/null
+++ b/content/extras/music/characters/a-finger-pointing.md
@@ -0,0 +1,111 @@
+---
+title: A Finger Pointing's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | KOAN Sound | [Liquid Levity](https://open.spotify.com/track/4GZlLTrZY7rU7iTaFkvBQi)
+ | Lemon Jelly | [Page One](https://open.spotify.com/track/1W1dZcvhTJbZ6kQYB6SvM0)
+ | The Cinematic Orchestra | [Ode To The Big Sea](https://open.spotify.com/track/7bRUWmwVk8zpZtWfER4DjW)
+ | Hiatus Kaiyote | [Malika](https://open.spotify.com/track/1rFmHtg8I3YxF22TFkbOKP)
+ | Amon Tobin | [Bridge](https://open.spotify.com/track/5OI6WSmcih616fK3njeXUJ)
+ | Men I Trust | [Show Me How](https://open.spotify.com/track/01TyFEZu6mHbffsVfxgrFn)
+ | Blockhead | [For Fork's Sake](https://open.spotify.com/track/6PEkG1LPQyGVQ5oygu06eO)
+ | Jaga Jazzist | [Airborne](https://open.spotify.com/track/60W51PvuIPnEZFeDxUQYvZ)
+ | The Flashbulb | [Morning Run](https://open.spotify.com/track/42ABM8zfyW0FAZiozJO5Dz)
+ | aYia | [Ruins](https://open.spotify.com/track/2JhEXmr3ncmiQkQZW74Wza)
+ | Blockhead | [Carnivores Unite](https://open.spotify.com/track/56oUD9ZzgSSDFgvLHxoWyZ)
+ | Hiatus Kaiyote | [Rainbow Rhodes](https://open.spotify.com/track/1VEJWBbeBbOX6N0UwXlM3x)
+ | BADBADNOTGOOD, Leland Whitty | [Confessions (feat. Leland Whitty)](https://open.spotify.com/track/1K5RjfNOb6OLnQcAUv6M6b)
+ | Blockhead | [Ashes in the Hudson](https://open.spotify.com/track/6IWLG6T4gRPxT8WQ1dS1F2)
+ | Blockhead | [Lord of Them Thangs](https://open.spotify.com/track/1K7jVq5hzZBpMnIk0ptsFx)
+ | Blockhead | [Boundary Issues](https://open.spotify.com/track/3MF02Y0lVDHnpmz3u0nlwQ)
+ | Blockhead | [Greetings and Incelutations](https://open.spotify.com/track/7qF55f0MwuBq6UKuTlj7sH)
+ | Blockhead | [The Candy Tangerine Man](https://open.spotify.com/track/0Vh6OLJT82qI74sD6ha38l)
+ | Blockhead | [Let's Play the Feud!](https://open.spotify.com/track/4YNtqYKNGQnpSvAFLWyK6E)
+ | Blockhead | [Werewolves Love Astrology](https://open.spotify.com/track/6h5b7Xb7SZcdDhVRiEXUrK)
+ | Amon Tobin | [Chocolate Lovely](https://open.spotify.com/track/4C8GnT67x8TIdU0WGBGMi8)
+ | The Cinematic Orchestra | [Man With The Movie Camera](https://open.spotify.com/track/5JB5F9iGwQqALGClKdeOky)
+ | Bill Laurance | [The Good Things](https://open.spotify.com/track/7drkN9v3cX4CqA8gTq3pPB)
+ | Camo & Krooked, Mefjus, Sophie Lindinger | [No Tomorrow](https://open.spotify.com/track/4KaYnQBP5CUorQKKuKmRUO)
+ | Lemon Jelly | ['64 aka Go](https://open.spotify.com/track/6ycMDFsh41kYb20qMpcaYP)
+ | Dusty Brown | [This City Is Killing Me](https://open.spotify.com/track/1sIVrEY8WNhQNpON9BmXTd)
+ | ALEPH | [R.E.M.](https://open.spotify.com/track/62eu93RUHKTIg9bm6VZ6WS)
+ | Telefon Tel Aviv | [When It Happens, It Moves All by Itself](https://open.spotify.com/track/3iWujTdDJSoD5szrWFGaRF)
+ | SOHN | [Life Behind Glass](https://open.spotify.com/track/6f9qcrWRocvwwCJmXTgrDb)
+ | London Grammar | [Leave the War With Me](https://open.spotify.com/track/5TcC7QvyRQfoIImqtgkY6n)
+ | Mega Mango | [Boggle](https://open.spotify.com/track/6FEisGZPcJyGwSpuhH1fMx)
+ | phonon | [emme](https://open.spotify.com/track/3p15F46vmAIGEdwHEApt4i)
+ | Bear Ghost, Dan E.T. | [Rivers Is A Vampire](https://open.spotify.com/track/5Ej4QdOFpwulV2GPWbfp6T)
+ | Alamaailman Vasarat | [Kebab Tai Henki!](https://open.spotify.com/track/4i80bt0e0qtfuYDUJe2mjG)
+ | Fiona Apple | [Waltz (Better Than Fine)](https://open.spotify.com/track/7neXV046ou4CNN9wyFAED6)
+ | Melt Yourself Down | [Fix My Life](https://open.spotify.com/track/5iDydsj3Vdz4qg785ZUtvb)
+ | YACHT | [I Walked Alone](https://open.spotify.com/track/6kfSLLnpy0dADpQMYNRGBM)
+ | Daedelus | [Order of the Golden Dawn](https://open.spotify.com/track/35y3vuKI65sR7xDN1Bmms5)
+ | Tomasz Stanko Quartet | [Kattorna](https://open.spotify.com/track/1ADj39oPKmDPh7jyXHexc5)
+ | Boom Bip | [The Use of Unacceptable Colours In Nature](https://open.spotify.com/track/40AV6TtV4wwy5SpC2pwue1)
+ | Dave Brubeck | [40 Days](https://open.spotify.com/track/11lsAp77IGBuiBNiZXxG5K)
+ | Long Arm | [Double Bass in Love](https://open.spotify.com/track/3LPkWEdyDKmHM5SkMzSeZP)
+ | Skalpel | [Sculpture](https://open.spotify.com/track/7sftbhGr5Zffdmfqc8Vn3r)
+ | Clark | [Secret](https://open.spotify.com/track/21bLnN0PsCgWfXfNEQf70n)
+ | Siriusmo | [Liu](https://open.spotify.com/track/3JFBwzNht1BKVJVJLG44Cm)
+ | Jaga Jazzist | [Animal Chin](https://open.spotify.com/track/3IjHy89TBmOOK8nXYgqqo7)
+ | Shigeto | [First Saturn Return](https://open.spotify.com/track/3tfnKNTdXxLzllMod7gDFN)
+ | The Cinematic Orchestra | [Flite](https://open.spotify.com/track/1g7bl2LDCom7jtX2EmHRSF)
+ | Savath & Savalas | [Te Quiero Pero Por Otro Lado…](https://open.spotify.com/track/2ihEokHX5A4ZSgEOJu7gky)
+ | Oliver Nelson | [Stolen Moments](https://open.spotify.com/track/1sce5VJvCOYYDAR9rp9KdG)
+ | Ibrahim Maalouf | [Will Soon Be a Woman (Live au Babylon Istanbul, 2013)](https://open.spotify.com/track/64xWIjAe9NhyJCSqQWzp9s)
+ | Vernon Jane | [Praying 2 Angels](https://open.spotify.com/track/5NuF9WI6vGQTQBC6CWCK81)
+ | Kokoroko | [Ewà Inú](https://open.spotify.com/track/6dSoU34pWjbjZG2gt9gnqH)
+ | Kokoroko | [Dide O](https://open.spotify.com/track/7COHkKOtDI7qSl5tIBaZYN)
+ | Kokoroko | [Soul Searching](https://open.spotify.com/track/3N7ytAAHbxItaopO4YYULB)
+ | Kokoroko | [Those Good Times](https://open.spotify.com/track/2qXrlThrUo2ePdQ1KUHGiU)
+ | Kokoroko | [Interlude](https://open.spotify.com/track/7KPa4A0Lfo8AuxKhj2OBUi)
+ | Kokoroko | [Something's Going On](https://open.spotify.com/track/7e9ReVRPkkpBGG4R1as4xI)
+ | Kokoroko | [Ti-de](https://open.spotify.com/track/4Hkcul01Ct8ToAZkc71Ktf)
+ | Kokoroko | [Uman](https://open.spotify.com/track/6PcUrU7NeRBg7i1GPE1Wyu)
+ | João Donato | [Manha de Carnaval](https://open.spotify.com/track/0kfdvJhyb0QHBG1IM9Vlht)
+ | Elis Regina, Antônio Carlos Jobim | [Só Tinha De Ser Com Você](https://open.spotify.com/track/209ucYTS6vWEV5iydrHiOt)
+ | Elis Regina, Antônio Carlos Jobim | [Fotografia](https://open.spotify.com/track/4O2tMlIxlgRwmNQDElwIq4)
+ | Antônio Carlos Jobim | [Children's Games](https://open.spotify.com/track/0oiNDJWFLPQoAm35OwT66P)
+ | beabadoobee | [the perfect pair](https://open.spotify.com/track/41P6Tnd8KIHqON0QIydx6a)
+ | DOMi & JD BECK | [SMiLE](https://open.spotify.com/track/1HJXdfuWc6IlKBMLtITaHD)
+ | DOMi & JD BECK | [WHATUP](https://open.spotify.com/track/4VOWwshTx9YrUpAGD9IzqA)
+ | DOMi & JD BECK, Thundercat | [BOWLiNG (feat. Thundercat)](https://open.spotify.com/track/3Sk51FK0sTdiRQN477u5oq)
+ | Robert Glasper, Q-Tip, Esperanza Spalding | [Why We Speak [Feat. Q-Tip & Esperanza Spalding]](https://open.spotify.com/track/7tQESAjUFNA4vi6xVOTjoQ)
+ | All Day Breakfast Cafe | [What If Nile Rodgers And Fela Kuti Were Friends](https://open.spotify.com/track/3VeOPOlEAwZU0d4jBMcBbA)
+ | Camilla George, SANITY, Daru Jones | [Creation - Abasi and Atai](https://open.spotify.com/track/2Yjaf4MMGPFiEQgAO0WrQ0)
+ | The Comet Is Coming | [LUCID DREAMER](https://open.spotify.com/track/0mubGHecC0YHTmO2pp9EJ1)
+ | atlas, Flavors | [valentine (prod. flavors)](https://open.spotify.com/track/5mpv8gh1F6B7e2OdytGZ6l)
+ | Haywyre | [Memory](https://open.spotify.com/track/7gOMB2W8ylgZkuQFagFsx2)
+ | Haywyre | [Dichotomy (Soft Mix)](https://open.spotify.com/track/55yophjUCQIrtEz39wF2bL)
+ | Haywyre, CoMa | [Time](https://open.spotify.com/track/1BjfvCbE0KIHenBZdd1Wxn)
+ | Haywyre, Galimatias | [Voice of Reason](https://open.spotify.com/track/3NwRDwchI8iCk8Ru3gpUoV)
+ | Moonchild | [The List](https://open.spotify.com/track/5mWh956KP56IWMbLBfxdqj)
+ | Hiatus Kaiyote | [Mobius Streak](https://open.spotify.com/track/08o9yCplgxLM11ymhvkbl8)
+ | PJ Morton, Yebba | [How Deep Is Your Love (feat. Yebba) - Live](https://open.spotify.com/track/3SjAiqAQ6sMmsJBeVw0nMf)
+ | Dana and Alden, quickly\, quickly | [Coconut Water](https://open.spotify.com/track/48HATQmXssKoCAqhaFjtAh)
+ | Clara Mendes | [Útil Paisagem](https://open.spotify.com/track/4DuE8wVFGkhuA5GmZqkZcz)
+ | Thundercat | [Them Changes](https://open.spotify.com/track/7CH99b2i1TXS5P8UUyWtnM)
+ | Buke & Gase | [Houdini Crush](https://open.spotify.com/track/5Rejc9qWWqmQC3Hb0aGeEz)
+ | Justice | [D.A.N.C.E](https://open.spotify.com/track/33yAEqzKXexYM3WlOYtTfQ)
diff --git a/content/extras/music/characters/always-be-true.md b/content/extras/music/characters/always-be-true.md
new file mode 100644
index 0000000..2b80c1a
--- /dev/null
+++ b/content/extras/music/characters/always-be-true.md
@@ -0,0 +1,38 @@
+---
+title: Always Be True's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Andrew Prahlow | [14.3 Billion Years](https://open.spotify.com/track/6Pk74EH6WUornCtIoP12jE)
+ | Andrew Rannells, Christian Borle, Anthony Rosenthal, Brandon Uranowitz, Stephane J. Block | [Four Jews in a Room Bitching](https://open.spotify.com/track/1IhyIwuRWe47j5ZABC24tx)
+ | The Beatles | [Michelle - Remastered 2009](https://open.spotify.com/track/0FARfrl2IDyNURBj1reFWQ)
+ | Jeanine Tesori, Lisa Kron, Sydney Lucas, Beth Malone | [Ring of Keys](https://open.spotify.com/track/2zTjKIhgvU7mt6pbkWdzhi)
+ | Beyoncé | [If I Were a Boy](https://open.spotify.com/track/2jppsxdHlNHz9eK0QyYlTq)
+ | Born Ruffians | [Foxes Mate For Life](https://open.spotify.com/track/2jOnBMPY88OwEHnJIVjMuY)
+ | The Beatles | [Lucy In The Sky With Diamonds - 2017 Mix](https://open.spotify.com/track/4GX8I8c7gMZn7mZFM9QAs0)
+ | Christian Borle, Andrew Rannells, Anthony Rosenthal, Stephanie J. Block, Brandon Uranowitz | [This Had Better Come to a Stop](https://open.spotify.com/track/2lmlN7z7rK8tddQvFzbmWs)
+ | Anthony Rosenthal, Christian Borle, Stephanie J. Block, Andrew Rannells | [My Father's a Homo / Everyone Tells Jason to See a Psychiatrist](https://open.spotify.com/track/2kFZN70FYGSPCTbDtcD29V)
+ | Jukebox The Ghost | [Under My Skin](https://open.spotify.com/track/0EBBt2OSiGanyjPMcU5UBW)
+ | Idina Menzel, Anthony Rapp | [Some Other Me](https://open.spotify.com/track/3yjuNPkPEJSfMbPbp4xjR3)
+ | Car Seat Headrest | [Beach Life-In-Death](https://open.spotify.com/track/27aQH9DIJ3ozx3dC91Hhjg)
diff --git a/content/extras/music/characters/answers-will-not-help.md b/content/extras/music/characters/answers-will-not-help.md
new file mode 100644
index 0000000..1a2e8a6
--- /dev/null
+++ b/content/extras/music/characters/answers-will-not-help.md
@@ -0,0 +1,35 @@
+---
+title: Answers Will Not Help's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Men I Trust | [Show Me How](https://open.spotify.com/track/01TyFEZu6mHbffsVfxgrFn)
+ | Fiona Apple | [Hot Knife](https://open.spotify.com/track/4eZPjR0dLEYvH5Ku26rnLi)
+ | Gábor Szabó | [Galatea's Guitar - 2022 Remastered Version](https://open.spotify.com/track/6L2EhnRo0GsLQknFiN5HYD)
+ | Caribou | [Bees](https://open.spotify.com/track/3ZKI571IyBKZPHq1UiQ2Sw)
+ | Battles | [Tonto](https://open.spotify.com/track/1LyVKKl0Xe1QUpl78z9Bmj)
+ | Major Parkinson | [Night Hitcher](https://open.spotify.com/track/02rInvPDZSn2YWzIJGRjHL)
+ | Air | [How Does It Make You Feel?](https://open.spotify.com/track/4IoqGTH2D6zMrGzg9gW0DL)
+ | Lusine | [Jetstream](https://open.spotify.com/track/0zF983pbnmNCo9SnikVVJK)
+ | Disasterpeace, Aaron Cherof | [Nocturne](https://open.spotify.com/track/4ny5FWPgPjTtgJlkQqpL27)
diff --git a/content/extras/music/characters/beholden.md b/content/extras/music/characters/beholden.md
new file mode 100644
index 0000000..53ab7c2
--- /dev/null
+++ b/content/extras/music/characters/beholden.md
@@ -0,0 +1,89 @@
+---
+title: Beholden's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Blockhead | [For Fork's Sake](https://open.spotify.com/track/6PEkG1LPQyGVQ5oygu06eO)
+ | Chrome Sparks | [Marijuana](https://open.spotify.com/track/63PEsIWyy3QgiPy4u5I9pG)
+ | Floex | [Veronika's Dream](https://open.spotify.com/track/4Wn5jRULq1MDfPrCAFVoDH)
+ | Owen Pallett | [Lewis Takes Action](https://open.spotify.com/track/0KLqnvSoVbaACrINlRSQma)
+ | Kyroshie | [Please Tell Me It's A Joke](https://open.spotify.com/track/3deGyGagr9nKqWGNwP3zn6)
+ | Florence + The Machine | [Dog Days Are Over](https://open.spotify.com/track/1YLJVmuzeM2YSUkCCaTNUB)
+ | The Temper Trap | [Sweet Disposition](https://open.spotify.com/track/5RoIXwyTCdyUjpMMkk4uPd)
+ | Mouse On Mars | [Stereomission](https://open.spotify.com/track/2bEFcAISP2KpoWCiWI6Pzc)
+ | Have A Nice Life | [A Quick One Before the Eternal Worm Devours Connecticut](https://open.spotify.com/track/34dkZZNQJzEJRqPkywYmEY)
+ | Blockhead | [Give Them Their Flowers](https://open.spotify.com/track/4Jk4YA2grRN78jjyT9uGmM)
+ | Anna Ternheim | [No, I Don't Remember](https://open.spotify.com/track/4CJfc5n3E4JhmQMFjTdUbp)
+ | aYia | [Ruins](https://open.spotify.com/track/2JhEXmr3ncmiQkQZW74Wza)
+ | Portico Quartet | [Knee-Deep in the North Sea](https://open.spotify.com/track/3GiL4UBkcDmqe8xu1oJoo2)
+ | Melt Yourself Down | [Fix My Life](https://open.spotify.com/track/5iDydsj3Vdz4qg785ZUtvb)
+ | Bent Knee | [Bone Rage](https://open.spotify.com/track/3w6ZkYtNRwgbQ7qxnRpHRK)
+ | Glass Animals | [Pools](https://open.spotify.com/track/7jO2B8Xgfu7D9vj60XiG7Y)
+ | Mouse On Mars | [Kompod](https://open.spotify.com/track/2mVKgtDpXmtrx2mBePRwLc)
+ | Mouse On Mars | [Kanu](https://open.spotify.com/track/7emTzJKcEo7Vcp1yyvh8LV)
+ | SHSTR | [Artificial Sunset](https://open.spotify.com/track/7MTuE4hteeNswkLiBG66Gx)
+ | SHSTR | [The Exile](https://open.spotify.com/track/0wx8nqsbTrMFvSIcpwqijE)
+ | SHSTR | [The Lamb and the Wolf](https://open.spotify.com/track/63oHO87MSNEWltvOr20joT)
+ | SHSTR | [Sightless Eyes](https://open.spotify.com/track/50aeJUmtwDth4DB682Jbvm)
+ | Never Get Used To People | [Life Letters](https://open.spotify.com/track/29VdNzgJIxzlIDkIYjFQqS)
+ | Buke & Gase | [Houdini Crush](https://open.spotify.com/track/5Rejc9qWWqmQC3Hb0aGeEz)
+ | Esperanza Spalding | [Good Lava](https://open.spotify.com/track/0SdxGQpFy67zAxNWQ0ftml)
+ | Long Arm | [Double Bass in Love](https://open.spotify.com/track/3LPkWEdyDKmHM5SkMzSeZP)
+ | Gramatik, Branx | [Future Crypto](https://open.spotify.com/track/77fWIj4wQz8EKpDRkoPK6R)
+ | Vernon Jane | [Fuck Me](https://open.spotify.com/track/1u8lE1YTkgQrXnMpPpVUC6)
+ | Juno Reactor | [God Is God](https://open.spotify.com/track/4c3AIVL5VlvlwqzPMkEenX)
+ | DROELOE | [Only Be Me](https://open.spotify.com/track/4E4gQUWMUbi0lOf98qqtuv)
+ | Four Tet, Jon Hopkins | [Angel Echoes - Jon Hopkins Remix](https://open.spotify.com/track/62Ws0LPi5yZJ7nWMdN8ZcI)
+ | Haywyre | [Dichotomy (Soft Mix)](https://open.spotify.com/track/55yophjUCQIrtEz39wF2bL)
+ | Phoebe Bridgers | [Motion Sickness](https://open.spotify.com/track/6LxcPUqx6noURdA5qc4BAT)
+ | Jhariah | [PRESSURE BOMB 3?!?!](https://open.spotify.com/track/2QZbSC8GZPSLXVL4ezviiL)
+ | Haywyre | [Do You Don't You](https://open.spotify.com/track/55XVu6sTO9XyNEuu3OEijK)
+ | Lemon Jelly | [Page One](https://open.spotify.com/track/1W1dZcvhTJbZ6kQYB6SvM0)
+ | Haywyre | [Never Count On Me](https://open.spotify.com/track/18Ex4J57MhJ7ou358jFXFx)
+ | MUST DIE!, Ducky | [DELETE IT ALL](https://open.spotify.com/track/5O07W27wy7OxoRLT71zlkB)
+ | lapix | [Day by day - PSYQUI Remix](https://open.spotify.com/track/5kiluGP5yfujqTwMLin7nZ)
+ | The Buttress | [Brutus (Instrumental)](https://open.spotify.com/track/0m5xMNMK48sQVjASd4YPPt)
+ | Moon Bounce | [Drugs](https://open.spotify.com/track/1dS2BDYFU52VfFQoWqticB)
+ | Space Laces | [Vaultage 003](https://open.spotify.com/track/1eQF4JMgSGhbG6ODZs2saB)
+ | Kayzo, Kamiyada+, Tisoki | [NEWS FLASH (Tisoki Remix)](https://open.spotify.com/track/7C4nn81sUVe0QWqDPJiyGw)
+ | Space Laces | [D.A.W](https://open.spotify.com/track/2qiNqpbZzziUVJdVe45hGg)
+ | Ceptre | [Rapt](https://open.spotify.com/track/4ViE0MdFlkprHTPRkUXcWE)
+ | Runnit | [nasti](https://open.spotify.com/track/3M1lmzO08DlyE64hZeyGxU)
+ | Stickleback | [Nasti](https://open.spotify.com/track/3b6m0TTQTWIM9sWfPcnI02)
+ | ellis | [Feel That Way](https://open.spotify.com/track/1qMak6TgZIdfcCzuGIAZyU)
+ | Jain | [Come](https://open.spotify.com/track/02R2z7JWV0G8VuU1xs58OB)
+ | Rubik | [Sun's Eyes](https://open.spotify.com/track/6BSx590I5G70vsLSgUOtQK)
+ | Amon Tobin, MC Decimal R. | [Verbal](https://open.spotify.com/track/1ywyrSc0CxI1XZnkbr14Nc)
+ | TV On The Radio | [Quartz](https://open.spotify.com/track/0xXmPzAdGlPBaJ0csqYxYs)
+ | Botany | [Quatic](https://open.spotify.com/track/55FIhKMfZMj7tQyHcpSGOR)
+ | Air | [How Does It Make You Feel?](https://open.spotify.com/track/4IoqGTH2D6zMrGzg9gW0DL)
+ | Donovans | [Yo !](https://open.spotify.com/track/3aqo7jZDEYfdMf54batJE2)
+ | Donovans | [Rise & Fall](https://open.spotify.com/track/49063mI7ykBk32B7sc1JFg)
+ | gladde paling | [hap slik weg](https://open.spotify.com/track/0y002KpsM1aIDJALtmT7j7)
+ | ratbag | [rats in my walls](https://open.spotify.com/track/518SyWWJhPl7HHUSPfyRjL)
+ | Cheese People | [Доля риска](https://open.spotify.com/track/0nPnpl0Y5h4tVdMylsXAPZ)
+ | SWRSLT | [Pretty Cvnt](https://open.spotify.com/track/2CTcTL788DBaFLnc6QJSzv)
+ | GRiZ, Chrishira Perrier | [Feel It All](https://open.spotify.com/track/6bD33B9oE9ZtilNhHUpOBz)
+ | Mason, Princess Superstar, 1991 | [Perfect (Exceeder) - 1991 Remix](https://open.spotify.com/track/1VKWQgq0g2uKtgNfL0ceNM)
+ | Creeds | [Push Up - Main Edit](https://open.spotify.com/track/3AjSfp5FDvwtMU9XBsbS8j)
diff --git a/content/extras/music/characters/dry-grass.md b/content/extras/music/characters/dry-grass.md
new file mode 100644
index 0000000..98660cd
--- /dev/null
+++ b/content/extras/music/characters/dry-grass.md
@@ -0,0 +1,45 @@
+---
+title: Dry Grass's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Indigo De Souza | [What Are We Gonna Do Now](https://open.spotify.com/track/4i3ExiCWHemALN24hVn65B)
+ | The Ditty Bops | [Wake Up](https://open.spotify.com/track/7iqlj8QM3Wmvg21bE3AnrR)
+ | Phoebe Bridgers | [Smoke Signals](https://open.spotify.com/track/5w52BJAqGkV1ewaCVLmjhi)
+ | The Ditty Bops | [Breeze Black Night](https://open.spotify.com/track/3jvJSB3sgqXtKGHqfCdorx)
+ | Röyksopp | [Poor Leno](https://open.spotify.com/track/6EUs3FH5StArwbc07i3OYG)
+ | The Ditty Bops | [Pale Yellow](https://open.spotify.com/track/3GHb0SC77sUFGHr4qSukei)
+ | Vernon Jane | [Praying 2 Angels](https://open.spotify.com/track/5NuF9WI6vGQTQBC6CWCK81)
+ | Clap! Clap!, Oy | [Hope](https://open.spotify.com/track/3njAaDjDBb893AnRjgiRm8)
+ | Big Thief | [Velvet Ring](https://open.spotify.com/track/7qshYIOUFQAGgYfWXg1m9N)
+ | Men I Trust | [Show Me How](https://open.spotify.com/track/01TyFEZu6mHbffsVfxgrFn)
+ | Fiona Apple | [Across the Universe](https://open.spotify.com/track/6ZQgooEk8PvsLxedYaT6Oa)
+ | Fiona Apple | [Waltz (Better Than Fine)](https://open.spotify.com/track/7neXV046ou4CNN9wyFAED6)
+ | Röyksopp | [Eple](https://open.spotify.com/track/7pbEKdMWHGwPQSDGfcNycM)
+ | Disasterpeace, Stemage | [Flow](https://open.spotify.com/track/1jTiSWvd2eVwchro3VgeNx)
+ | Turin Brakes | [Full Of Stars](https://open.spotify.com/track/22iXle8iPtqh6RbZS79FY7)
+ | The Mamas & The Papas | [Twist And Shout](https://open.spotify.com/track/3GBgcomUb0yvKfkxybq7mN)
+ | The Mamas & The Papas | [Dream A Little Dream Of Me](https://open.spotify.com/track/27hhIs2fp6w06N5zx4Eaa5)
+ | Rubik | [Sun's Eyes](https://open.spotify.com/track/6BSx590I5G70vsLSgUOtQK)
+ | Food | [Khymos](https://open.spotify.com/track/16xwZZLw1aWQbrup8wH1Bo)
diff --git a/content/extras/music/characters/e.w..md b/content/extras/music/characters/e.w..md
new file mode 100644
index 0000000..8cdd01e
--- /dev/null
+++ b/content/extras/music/characters/e.w..md
@@ -0,0 +1,35 @@
+---
+title: E.W.'s playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | The Dillinger Escape Plan | [Mouth Of Ghosts](https://open.spotify.com/track/0Le202Yj1zphNm3QyfN1sB)
+ | Dusty Brown | [This City Is Killing Me](https://open.spotify.com/track/1sIVrEY8WNhQNpON9BmXTd)
+ | My Brightest Diamond | [Inside a Boy - Son Lux Remix](https://open.spotify.com/track/5eQHx8RwnLJa7oNFza9GiO)
+ | David Bowie | [Sunday](https://open.spotify.com/track/4RlYcmB89aA2rAMMKwPWEp)
+ | David Bowie | [★](https://open.spotify.com/track/1Xb5UAKg5OdTHkg48FdQou)
+ | Mouse On Mars | [Rondio](https://open.spotify.com/track/4DNw5Ngrz7o3LGgrKAhxOx)
+ | Major Parkinson | [Night Hitcher](https://open.spotify.com/track/02rInvPDZSn2YWzIJGRjHL)
+ | A.A. Williams | [Creep](https://open.spotify.com/track/1tDAUwBTlU7aBYWvbdB1Ob)
+ | Air | [How Does It Make You Feel?](https://open.spotify.com/track/4IoqGTH2D6zMrGzg9gW0DL)
diff --git a/content/extras/music/characters/hold-my-name.md b/content/extras/music/characters/hold-my-name.md
new file mode 100644
index 0000000..5d62f0f
--- /dev/null
+++ b/content/extras/music/characters/hold-my-name.md
@@ -0,0 +1,61 @@
+---
+title: Hold My Name's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Moonchild | [The List](https://open.spotify.com/track/5mWh956KP56IWMbLBfxdqj)
+ | The Temper Trap | [Sweet Disposition](https://open.spotify.com/track/5RoIXwyTCdyUjpMMkk4uPd)
+ | Moonchild | [The Truth](https://open.spotify.com/track/0FlicClgtjsPvYZgvX138m)
+ | Herbie Hancock | [Vein Melter](https://open.spotify.com/track/6c0ziyel6ZMTQ37vKRooGZ)
+ | Moonchild | [Don't Wake Me](https://open.spotify.com/track/1JxkQAXBMLhuplAo9wCONR)
+ | Alok, Zeeba, iRO | [Ocean](https://open.spotify.com/track/4nraNqonMyfc0U3o8VeXVu)
+ | Hiatus Kaiyote | [Sphinx Gate](https://open.spotify.com/track/2dRUsEM9qWmta4uMOb9Mx4)
+ | Dusty Brown | [This City Is Killing Me](https://open.spotify.com/track/1sIVrEY8WNhQNpON9BmXTd)
+ | Hiatus Kaiyote | [Nakamarra](https://open.spotify.com/track/1WCbWyu8mRrOk5Su9yPnkO)
+ | SOHN | [Life Behind Glass](https://open.spotify.com/track/6f9qcrWRocvwwCJmXTgrDb)
+ | Hiatus Kaiyote | [Rainbow Rhodes](https://open.spotify.com/track/1VEJWBbeBbOX6N0UwXlM3x)
+ | Hiatus Kaiyote | [Mobius Streak](https://open.spotify.com/track/08o9yCplgxLM11ymhvkbl8)
+ | j^p^n | [Bloom](https://open.spotify.com/track/26kPTDeIh5pTcyMuD6IonN)
+ | PJ Morton, Yebba | [How Deep Is Your Love (feat. Yebba) - Live](https://open.spotify.com/track/3SjAiqAQ6sMmsJBeVw0nMf)
+ | Mouse On Mars | [Fantastic Analysis](https://open.spotify.com/track/3CGeenPaULIZZbbXHUfSjc)
+ | HYUKOH | [Wi Ing Wi Ing](https://open.spotify.com/track/66UcQu5LBo2A7AC0A5r0lI)
+ | David Bowie | [Cactus](https://open.spotify.com/track/0SSnwuxogRb3TkhSeLQbrC)
+ | Mouse On Mars | [Pinwheel Herman](https://open.spotify.com/track/15iYEUHOlnC15IBmBOsG42)
+ | fun., Janelle Monáe | [We Are Young (feat. Janelle Monáe)](https://open.spotify.com/track/7a86XRg84qjasly9f6bPSD)
+ | Aphex Twin | [Alberto Balsalm](https://open.spotify.com/track/6gbmylJ7sB7NFfMfTQHosf)
+ | Tom Day | [After Hours](https://open.spotify.com/track/3zIJhy02loMgUrlDjFEUKI)
+ | Four Tet, Jon Hopkins | [Angel Echoes - Jon Hopkins Remix](https://open.spotify.com/track/62Ws0LPi5yZJ7nWMdN8ZcI)
+ | Dana and Alden, quickly\, quickly | [Coconut Water](https://open.spotify.com/track/48HATQmXssKoCAqhaFjtAh)
+ | Fish in a Birdcage | [Rule #21 - Momento Mori](https://open.spotify.com/track/5DeZowL9q9wS0OBdud4Wy1)
+ | In Love With a Ghost, Nori | [Flowers](https://open.spotify.com/track/5VnaOLeK1lKfULuNwet8ck)
+ | Clap! Clap!, Oy | [Hope](https://open.spotify.com/track/3njAaDjDBb893AnRjgiRm8)
+ | Glass Animals | [Take A Slice](https://open.spotify.com/track/37adYGaYaAWTGhBaOzX4Fh)
+ | Vulfpeck | [Fugue State](https://open.spotify.com/track/2Ux3BFgzXm0YoD37nBQjJt)
+ | Effin | [Divine](https://open.spotify.com/track/4YssZJDemgkA1Tty80kDXK)
+ | The Ditty Bops | [Breeze Black Night](https://open.spotify.com/track/3jvJSB3sgqXtKGHqfCdorx)
+ | Thundercat | [Them Changes](https://open.spotify.com/track/7CH99b2i1TXS5P8UUyWtnM)
+ | Turin Brakes | [Full Of Stars](https://open.spotify.com/track/22iXle8iPtqh6RbZS79FY7)
+ | Ronald Jenkees | [Rhodes Deep](https://open.spotify.com/track/1qlmJohzYG5IarRCsw00oj)
+ | Girls in Airports | [Fables](https://open.spotify.com/track/1lSmRkGTMdK1v8jxxi4y10)
+ | Air | [How Does It Make You Feel?](https://open.spotify.com/track/4IoqGTH2D6zMrGzg9gW0DL)
diff --git a/content/extras/music/characters/in-the-wind.md b/content/extras/music/characters/in-the-wind.md
new file mode 100644
index 0000000..4c713aa
--- /dev/null
+++ b/content/extras/music/characters/in-the-wind.md
@@ -0,0 +1,54 @@
+---
+title: In The Wind's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Peter Broderick, Nils Frahm | [And It's Alright - Nils Frahm Remix](https://open.spotify.com/track/4yQTsewlyrRrHq2EW6pjsg)
+ | Uyama Hiroto | [Waltz for Real World](https://open.spotify.com/track/6QMJNcoThdqI7kz53xc0q1)
+ | Benn Jordan | [III](https://open.spotify.com/track/6ccPzsq6wjwy2QqqHNq2xl)
+ | The Album Leaf | [The Light](https://open.spotify.com/track/3YlJKAnvDjHNFjFVy2MXMG)
+ | Anatole | [Surrounds](https://open.spotify.com/track/6UzTau1ZyZHpnoUPjmLnSx)
+ | Erik Levander | [Sekund](https://open.spotify.com/track/4ZavW8Vab56DVvOy0QKqzx)
+ | Anatole | [Colours](https://open.spotify.com/track/4Bdtc97VL7dsFmUGW4BO2d)
+ | Hiroshi Yoshimura | [FEET](https://open.spotify.com/track/2XBXn7yluQZ6bFReesUjrt)
+ | Haywyre | [Dichotomy (Soft Mix)](https://open.spotify.com/track/55yophjUCQIrtEz39wF2bL)
+ | Tom Day | [Descending](https://open.spotify.com/track/4Gj87tX54DBtC6wBlXA3KU)
+ | Air | [Once Upon a Time](https://open.spotify.com/track/7dvkAGglW9TS6VmQ6sufAX)
+ | The Cinematic Orchestra | [Time And Space](https://open.spotify.com/track/6qqNMdHr1hcyF4amMDP5Sf)
+ | Koda, Bijou | [Waking](https://open.spotify.com/track/7f5ppYCVLnXkVkSMTNfJTG)
+ | ICO | [heal](https://open.spotify.com/track/2iGCFvzjXPoXBooTnPOvdw)
+ | Little Tybee | [Hearing Blue](https://open.spotify.com/track/3V89zfDfYoPdCyThHPtLER)
+ | Hiroshi Yoshimura | [TEEVEE](https://open.spotify.com/track/4j8X5lYsXlWFr6hZ9Djs3h)
+ | Kokoroko | [Home](https://open.spotify.com/track/6eZ2ucANM4ClTdrPVB958U)
+ | Ólafur Arnalds | [undir](https://open.spotify.com/track/3u2R3fpfSNwvEWDzSVcXVS)
+ | The Turtles | [Happy Together](https://open.spotify.com/track/1JO1xLtVc8mWhIoE3YaCL0)
+ | Steve Hauschildt | [M Path](https://open.spotify.com/track/1vx9klSPhcooZ0fWOH9E4g)
+ | Forma | [Crossings](https://open.spotify.com/track/3ud4MGY6C2HEqkbSVWlArn)
+ | Steve Hauschildt | [Lyngr](https://open.spotify.com/track/451NedehClChIeR1wAhHWm)
+ | Steve Hauschildt | [Dissolvi](https://open.spotify.com/track/3A4ofOV2VMIYteboG0tNZB)
+ | Nils Frahm | [Keep](https://open.spotify.com/track/3OjWW823M5rbDuIr9mB06d)
+ | Jon Hopkins | [A Drifting Up](https://open.spotify.com/track/6p15WNkNoKhR0iDdFOTmuw)
+ | Lusine | [Jetstream](https://open.spotify.com/track/0zF983pbnmNCo9SnikVVJK)
+ | Kiln | [Airplaneshadows](https://open.spotify.com/track/0AE5luncpu558B9jxxaU2j)
+ | Luke Howard | [The Main Sequence](https://open.spotify.com/track/5AHocNK1CJ80Zo3UhMm7dc)
diff --git a/content/extras/music/characters/motes.md b/content/extras/music/characters/motes.md
new file mode 100644
index 0000000..5d3b9fb
--- /dev/null
+++ b/content/extras/music/characters/motes.md
@@ -0,0 +1,55 @@
+---
+title: Motes's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Frequent, Hudson Lee | [Day Bird Collection](https://open.spotify.com/track/1urjjr3cLpybRiEznRSWCZ)
+ | Tanger | [Fizzy](https://open.spotify.com/track/6hfhtkLH4rLw269iz9HBSf)
+ | Shawn Wasabi, Hollis | [OTTER POP (feat. Hollis)](https://open.spotify.com/track/1svyhZJQcGnrTbrxBLBs1x)
+ | Iglooghost | [Bug Thief](https://open.spotify.com/track/58jMrMZePOvsOUmR7VlKT3)
+ | Mega Mango | [Boggle](https://open.spotify.com/track/6FEisGZPcJyGwSpuhH1fMx)
+ | Mouse On Mars | [Dark Fx](https://open.spotify.com/track/1tmJ32a3LobK9pl4aByeF8)
+ | Mouse On Mars | [Scat](https://open.spotify.com/track/3JIr1H6SDv5nsoIZODjoJy)
+ | Mouse On Mars | [Tux & Damask](https://open.spotify.com/track/19LLkcqajBXHAQzmjLUEfg)
+ | Mouse On Mars | [Subsequence](https://open.spotify.com/track/1CTVpwNjl9CpD7gWCTNBYq)
+ | Lusine | [Jetstream](https://open.spotify.com/track/0zF983pbnmNCo9SnikVVJK)
+ | Ruth B. | [Dandelions](https://open.spotify.com/track/2eAvDnpXP5W0cVtiI0PUxV)
+ | Floating Points | [Argente](https://open.spotify.com/track/6s4vrjTbMNjZues9hgBThf)
+ | Xguiz, Patricia Taxxon | [Eeeaaaooo](https://open.spotify.com/track/6tOJm3QnlnZkJiahtwpCnG)
+ | múm | [Awake On A Train](https://open.spotify.com/track/6ZxIstaskZ8NB75dT9ek6P)
+ | Jaga Jazzist | [Animal Chin](https://open.spotify.com/track/3IjHy89TBmOOK8nXYgqqo7)
+ | Vernon Jane | [Praying 2 Angels](https://open.spotify.com/track/5NuF9WI6vGQTQBC6CWCK81)
+ | Haywyre | [Dichotomy (Soft Mix)](https://open.spotify.com/track/55yophjUCQIrtEz39wF2bL)
+ | Dillon Francis, Diplo, Maluca | [Que Que feat. Maluca](https://open.spotify.com/track/5P4QvdBL9aJ3ldf3GpfEy6)
+ | Röyksopp | [Eple](https://open.spotify.com/track/7pbEKdMWHGwPQSDGfcNycM)
+ | Ronald Jenkees | [Rhodes Deep](https://open.spotify.com/track/1qlmJohzYG5IarRCsw00oj)
+ | Eliminate | [Elevator](https://open.spotify.com/track/7ARzyH5VceCD3kKf6IxnOx)
+ | Grant, Juneau | [Are We Still Young](https://open.spotify.com/track/7zPAsqqz9M5qcpG42YUiug)
+ | Amon Tobin | [Three Different Hat Sizes](https://open.spotify.com/track/2LuWhwbo3qrcihwcC2Bx5j)
+ | Amon Tobin, MC Decimal R. | [Verbal](https://open.spotify.com/track/1ywyrSc0CxI1XZnkbr14Nc)
+ | Botany | [Quatic](https://open.spotify.com/track/55FIhKMfZMj7tQyHcpSGOR)
+ | Little Big | [Skibidi](https://open.spotify.com/track/4F4TGsDYacEbw4PLAIyJ2e)
+ | Mason, Princess Superstar, 1991 | [Perfect (Exceeder) - 1991 Remix](https://open.spotify.com/track/1VKWQgq0g2uKtgNfL0ceNM)
+ | xxanteria, isq | [FUNKED UP](https://open.spotify.com/track/5NtwTPKQLkAG5XC0Vj6L2l)
+ | Creeds | [Push Up - Main Edit](https://open.spotify.com/track/3AjSfp5FDvwtMU9XBsbS8j)
diff --git a/content/extras/music/characters/no-longer-myself.md b/content/extras/music/characters/no-longer-myself.md
new file mode 100644
index 0000000..3f18d93
--- /dev/null
+++ b/content/extras/music/characters/no-longer-myself.md
@@ -0,0 +1,38 @@
+---
+title: No Longer Myself's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Adrianne Lenker | [anything](https://open.spotify.com/track/4PwWESSlTwzvw9B7bmtTLS)
+ | Phoebe Bridgers | [Smoke Signals](https://open.spotify.com/track/5w52BJAqGkV1ewaCVLmjhi)
+ | Indigo De Souza | [What Are We Gonna Do Now](https://open.spotify.com/track/4i3ExiCWHemALN24hVn65B)
+ | Fiona Apple | [Paper Bag](https://open.spotify.com/track/0IVkP59yJ9GFF6B7IrvrxA)
+ | Big Thief | [Velvet Ring](https://open.spotify.com/track/7qshYIOUFQAGgYfWXg1m9N)
+ | Phoebe Bridgers | [Georgia](https://open.spotify.com/track/5YTJXAM6j8jEQ5vC8Q67GL)
+ | Phoebe Bridgers | [Graceland Too](https://open.spotify.com/track/1WCjhRs2WBgyeGaybCX2Po)
+ | Lucy Dacus | [Night Shift](https://open.spotify.com/track/1yYlpGuBiRRf33e1gY61bN)
+ | Leith Ross | [We'll Never Have Sex](https://open.spotify.com/track/4Do3s3aivnqbUAvUEDEsAG)
+ | Phoebe Bridgers | [ICU](https://open.spotify.com/track/0Jm0RTOlF7DsbQ689QclaF)
+ | Turin Brakes | [Full Of Stars](https://open.spotify.com/track/22iXle8iPtqh6RbZS79FY7)
+ | Phoebe Bridgers | [Moon Song](https://open.spotify.com/track/46RNrAkGsqWTDrv2ZPOAbx)
diff --git a/content/extras/music/characters/rye.md b/content/extras/music/characters/rye.md
new file mode 100644
index 0000000..6756a81
--- /dev/null
+++ b/content/extras/music/characters/rye.md
@@ -0,0 +1,36 @@
+---
+title: Rye's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Balayeurs Du Désert | [Décollage](https://open.spotify.com/track/3dXXCJysbDa0B8mQyF6tVL)
+ | Jeff Beck | [Angel (Footsteps)](https://open.spotify.com/track/4B9YrfZSY0kIwNgsV1T8oB)
+ | Pomplamoose | [Something](https://open.spotify.com/track/53EvHL5WQyY92iF5G0waIj)
+ | Men I Trust | [Show Me How](https://open.spotify.com/track/01TyFEZu6mHbffsVfxgrFn)
+ | Indigo De Souza | [What Are We Gonna Do Now](https://open.spotify.com/track/4i3ExiCWHemALN24hVn65B)
+ | Lemon Jelly | [Page One](https://open.spotify.com/track/1W1dZcvhTJbZ6kQYB6SvM0)
+ | Lemon Jelly | [His Majesty King Raam](https://open.spotify.com/track/4J8ms7TbPISBz71G5z2SGS)
+ | Fiona Apple | [Every Single Night](https://open.spotify.com/track/23B1awnmd30YfsPSYsfrUf)
+ | Fiona Apple | [Hot Knife](https://open.spotify.com/track/4eZPjR0dLEYvH5Ku26rnLi)
+ | Turin Brakes | [Full Of Stars](https://open.spotify.com/track/22iXle8iPtqh6RbZS79FY7)
diff --git a/content/extras/music/characters/slow-hours.md b/content/extras/music/characters/slow-hours.md
new file mode 100644
index 0000000..be99599
--- /dev/null
+++ b/content/extras/music/characters/slow-hours.md
@@ -0,0 +1,55 @@
+---
+title: Slow Hours's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Nick Zammuto, Todd Reynolds | [Fast Pasture](https://open.spotify.com/track/2WpnwZMWmiXJVgIK9k4UST)
+ | Never Get Used To People | [Life Letters](https://open.spotify.com/track/29VdNzgJIxzlIDkIYjFQqS)
+ | The Comet Is Coming | [Birth Of Creation](https://open.spotify.com/track/3CuOokDRR0Z2r1WaPRXKaF)
+ | Godspeed You! Black Emperor | [Mladic](https://open.spotify.com/track/7C74YYs3w11kyXBYBgD3Zq)
+ | acloudyskye | [Heliov](https://open.spotify.com/track/7BBanBnfvtSGBxkPOxTLUW)
+ | Tanger | [cccccccccccccccc](https://open.spotify.com/track/2MzuX1KYWJvry2jBzU6wQ6)
+ | The Flashbulb | [Morning Run](https://open.spotify.com/track/42ABM8zfyW0FAZiozJO5Dz)
+ | Balayeurs Du Désert | [Décollage](https://open.spotify.com/track/3dXXCJysbDa0B8mQyF6tVL)
+ | Jeff Beck | [Angel (Footsteps)](https://open.spotify.com/track/4B9YrfZSY0kIwNgsV1T8oB)
+ | INZO | [Overthinker](https://open.spotify.com/track/7qGoMOzR9pJ1bPl4bFmTN7)
+ | David Bowie | [★](https://open.spotify.com/track/1Xb5UAKg5OdTHkg48FdQou)
+ | Mouse On Mars | [Kompod](https://open.spotify.com/track/2mVKgtDpXmtrx2mBePRwLc)
+ | Mouse On Mars | [Tux & Damask](https://open.spotify.com/track/19LLkcqajBXHAQzmjLUEfg)
+ | SHSTR | [The Exile](https://open.spotify.com/track/0wx8nqsbTrMFvSIcpwqijE)
+ | Mouse On Mars | [Rondio](https://open.spotify.com/track/4DNw5Ngrz7o3LGgrKAhxOx)
+ | Lusine | [Jetstream](https://open.spotify.com/track/0zF983pbnmNCo9SnikVVJK)
+ | Pomplamoose | [Nature Boy](https://open.spotify.com/track/4ZEzpBEQN0aiPxKnfqpD6Z)
+ | Pomplamoose | [Something](https://open.spotify.com/track/53EvHL5WQyY92iF5G0waIj)
+ | We Lost The Sea | [A Gallant Gentleman](https://open.spotify.com/track/7MZM9KhwGQG8QJ4BycsnQn)
+ | FKA twigs | [cellophane](https://open.spotify.com/track/7x8pIrhMu9FCmqqHNyuH0P)
+ | Ethan Bortnick | [cut my fingers off](https://open.spotify.com/track/5ARrWiDDRDocvURbemcnCy)
+ | Botany | [Quatic](https://open.spotify.com/track/55FIhKMfZMj7tQyHcpSGOR)
+ | Röyksopp | [So Easy](https://open.spotify.com/track/4MY8NLRDPXKn6CCsGLweLL)
+ | Röyksopp | [What Else Is There?](https://open.spotify.com/track/238vPTkV2cKupWDnAietb6)
+ | Disasterpeace, Stemage | [Flow](https://open.spotify.com/track/1jTiSWvd2eVwchro3VgeNx)
+ | Amon Tobin | [Three Different Hat Sizes](https://open.spotify.com/track/2LuWhwbo3qrcihwcC2Bx5j)
+ | Air | [How Does It Make You Feel?](https://open.spotify.com/track/4IoqGTH2D6zMrGzg9gW0DL)
+ | Vernon Jane | [Go Where She Went](https://open.spotify.com/track/52MM26h1GXEovyYDAXShN8)
+ | Beck | [Blackhole](https://open.spotify.com/track/73f6kkLd0AqABUHijIdijO)
diff --git a/content/extras/music/characters/true-name-tagged-convergence.md b/content/extras/music/characters/true-name-tagged-convergence.md
new file mode 100644
index 0000000..1d9c6a4
--- /dev/null
+++ b/content/extras/music/characters/true-name-tagged-convergence.md
@@ -0,0 +1,49 @@
+---
+title: "True Name#Convergence's playlist"
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Clever Girl | [Jumbo](https://open.spotify.com/track/57hpUNjkkSwM9OFp22usU4)
+ | Animals As Leaders | [The Brain Dance](https://open.spotify.com/track/7cO6rxZSi7Ura92FtspKaf)
+ | Animals As Leaders | [Apeirophobia](https://open.spotify.com/track/33Y6akOm1Sk2g6nXxNVh9x)
+ | Gábor Szabó | [Galatea's Guitar - 2022 Remastered Version](https://open.spotify.com/track/6L2EhnRo0GsLQknFiN5HYD)
+ | Animals As Leaders | [On Impulse](https://open.spotify.com/track/1ZWZO4Uc2W4U6ISIFtBCuJ)
+ | Animals As Leaders | [Tessitura](https://open.spotify.com/track/4mYodedV6gqsKoSWeB8tTK)
+ | Animals As Leaders | [Point to Point](https://open.spotify.com/track/65vUiT6J8LMq6e8YcKTCeC)
+ | Animals As Leaders | [Modern Meat](https://open.spotify.com/track/2OKYqk9p2fRFVQwaMPDSqY)
+ | Animals As Leaders | [Private Visions of the World](https://open.spotify.com/track/472vi5RE3rBOQlB3TVAn4O)
+ | Shark Quest | [Sin the Moon](https://open.spotify.com/track/4QVAGdnQaZw3twqGTA3ZIm)
+ | Caribou | [Bees](https://open.spotify.com/track/3ZKI571IyBKZPHq1UiQ2Sw)
+![cover]() | Gábor Szabó | [Galatea's Guitar](https://open.spotify.com/track/5YafdAyEYVePLz5QGCeD44)
+ | Wax Tailor | [For the Worst - Instrumental](https://open.spotify.com/track/4oTbhmuIp5oWHY4526tRMA)
+ | The Beta Band | [B+A](https://open.spotify.com/track/6vq3fkJ74aiRcIqr383H7A)
+ | Musée Mécanique | [Castle Walls - Instrumental](https://open.spotify.com/track/7FAuw1619lSUKBbC9VVpr2)
+ | Don Caballero | [Fire Back About Your New Baby's Sex](https://open.spotify.com/track/6If143a0W35DyR9pVQTTJP)
+ | Don Caballero | [The Peter Criss Jazz](https://open.spotify.com/track/6CGVSfryEulCEXvSXFO6A8)
+ | Don Caballero | [You Drink a Lot of Coffee for a Teenager](https://open.spotify.com/track/4VMYWYlKNLYh6OFCusaBkS)
+ | Don Caballero | [Details on How to Get ICEMAN on Your License Plate](https://open.spotify.com/track/39v2YXiwqWavyDbtbGflo9)
+ | Don Caballero | [A Lot of People Tell Me I Have a Fake British Accent](https://open.spotify.com/track/27kRf3wjtrzp5alsuk0TsK)
+ | Don Caballero | [Railroad Cancellation](https://open.spotify.com/track/4wXUhfW8mXFbvga8KVcozJ)
+ | Battles | [Atlas](https://open.spotify.com/track/5O8IbmlRKLvNNk5NRRwMFl)
+ | Battles | [Tonto](https://open.spotify.com/track/1LyVKKl0Xe1QUpl78z9Bmj)
diff --git a/content/extras/music/characters/warmth-in-fire.md b/content/extras/music/characters/warmth-in-fire.md
new file mode 100644
index 0000000..39aaa6f
--- /dev/null
+++ b/content/extras/music/characters/warmth-in-fire.md
@@ -0,0 +1,43 @@
+---
+title: Warmth In Fire's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Amon Tobin | [Bridge](https://open.spotify.com/track/5OI6WSmcih616fK3njeXUJ)
+ | Submotion Orchestra | [Awakening](https://open.spotify.com/track/4FULAlQuDeDlv1FidteGv0)
+ | Blockhead | [Carnivores Unite](https://open.spotify.com/track/56oUD9ZzgSSDFgvLHxoWyZ)
+ | The Flashbulb | [Undiscovered Colors](https://open.spotify.com/track/4fS4hGJcIydMZrWo68DFMf)
+ | Telefon Tel Aviv | [When It Happens, It Moves All by Itself](https://open.spotify.com/track/3iWujTdDJSoD5szrWFGaRF)
+ | Seiho | [Do Not Leave Wet](https://open.spotify.com/track/0P7XEbrxBA1sKz1gPJDAL7)
+ | Figueroa, Amon Tobin | [Back to the Stars](https://open.spotify.com/track/6JAyFkkYsXLHIjDAAlQ75W)
+ | Bill Laurance | [The Good Things](https://open.spotify.com/track/7drkN9v3cX4CqA8gTq3pPB)
+ | Frequent, Hudson Lee | [Day Bird Collection](https://open.spotify.com/track/1urjjr3cLpybRiEznRSWCZ)
+ | Alamaailman Vasarat | [Kebab Tai Henki!](https://open.spotify.com/track/4i80bt0e0qtfuYDUJe2mjG)
+ | Fiona Apple | [Every Single Night](https://open.spotify.com/track/23B1awnmd30YfsPSYsfrUf)
+ | j^p^n | [Bloom](https://open.spotify.com/track/26kPTDeIh5pTcyMuD6IonN)
+ | Joel Schoch | [Colored Engine](https://open.spotify.com/track/2U832A0zdb8OABhBmFjlWS)
+ | Jaga Jazzist | [Animal Chin](https://open.spotify.com/track/3IjHy89TBmOOK8nXYgqqo7)
+ | Haywyre | [Dichotomy (Soft Mix)](https://open.spotify.com/track/55yophjUCQIrtEz39wF2bL)
+ | Deltron 3030, Dan The Automator, Del The Funky Homosapien, Kid Koala | [3030](https://open.spotify.com/track/4eJokPhRlwORtVGQgnJWrA)
+ | Lemon Jelly | [Page One](https://open.spotify.com/track/1W1dZcvhTJbZ6kQYB6SvM0)
diff --git a/content/extras/music/characters/what-right-have-i.md b/content/extras/music/characters/what-right-have-i.md
new file mode 100644
index 0000000..05c49ea
--- /dev/null
+++ b/content/extras/music/characters/what-right-have-i.md
@@ -0,0 +1,61 @@
+---
+title: What Right Have I's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Leonard Bernstein, Michael Wager, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": Ia. Invocation. Adagio](https://open.spotify.com/track/30qvCN75RLMYSOxlOefWv4)
+ | Leonard Bernstein, Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": Ib. Kaddish 1. L'istesso tempo – Allegro molto](https://open.spotify.com/track/0lVeycY2lPx8Q7vUtjFgxx)
+ | Leonard Bernstein, Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIa. Din – Torah: Di nuovo adagio](https://open.spotify.com/track/26whAWXB5v6CXEw1b7k4xl)
+ | Leonard Bernstein, Montserrat Caballé, Michael Wager, Vienna Boys' Choir, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIb. Kaddish 2. Andante con tenerezza](https://open.spotify.com/track/6BljNuY4Bq9iin4pqeoqnr)
+ | Leonard Bernstein, Michael Wager, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIIa. Kaddish 3. Scherzo – Presto scherzando, sempre pianissimo](https://open.spotify.com/track/1uaNvV603WTnF35YljMMKr)
+ | Leonard Bernstein, Michael Wager, Vienna Boys' Choir, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIIb. Kaddish 3. Finale – Adagio come nel Din-Torah](https://open.spotify.com/track/3hJtzaQzzAsONxdK9dszio)
+ | Leonard Bernstein, Montserrat Caballé, Michael Wager, Vienna Boys' Choir, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIIc. Kaddish 3. Allegro vivo, con gioia](https://open.spotify.com/track/5y58D7DXLbaorrZb83wa4W)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part I: I. Invocation and Trance](https://open.spotify.com/track/3cWEDk9ApUcPOgRmR8bMe6)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part I: II. The Fathers (David and Jonathan) - The Pledge](https://open.spotify.com/track/5AfpPQArGiY1bzx9DRWPtb)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part I: III. Variation O - Messengers (Angelic Messengers)](https://open.spotify.com/track/06Tbv0iQqbOrkdtcqOhxoa)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part I: IIIa. Kabbalah](https://open.spotify.com/track/6ECx6QUQoPPApyOegfaAD3)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part I: IV. Dream](https://open.spotify.com/track/59wgplMcWmD5bCfXI0fVd0)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part II: IVa. Kabbalah](https://open.spotify.com/track/6lTbNAtN9nnjL3MKNuuFLi)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part II: V. Variation A](https://open.spotify.com/track/36llDFFz7XcYiCBWympaNh)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part II: VI. Variation M](https://open.spotify.com/track/0AMilpbIKBGzNW9oPjMvon)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part II: VII. Variation N](https://open.spotify.com/track/6kgw2o8PqhGBIC9kFbUuu7)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part II: VIII. Variation X](https://open.spotify.com/track/6gPHBwi2erbVyQAPDpJIoQ)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part II: IX. Variation Y](https://open.spotify.com/track/7mhE28jcPWkpGotyytnp6t)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part II: X. Variation Z](https://open.spotify.com/track/6WcprMey3zpcr2ZLrQDFAv)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part III: XI. Alchemy - Variation O](https://open.spotify.com/track/0uUvFtyUZgow4pq4t98e59)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part III: XII. Leah (Maidens' Dance)](https://open.spotify.com/track/6oIyb8ApfH6IrM6AUK8icE)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part III: XIII. Possession](https://open.spotify.com/track/0L79NuGP9zIRV0yG7e0fhQ)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part III: XIV. Demon](https://open.spotify.com/track/779TSG4YxMrYrBL5aChfyd)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part III: XV. Pas de deux](https://open.spotify.com/track/5HyUDT8ZbfF50MJRoAQCOF)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part III: XVI. Exorcism](https://open.spotify.com/track/7GHmb4KAOPWslyf6krxLL8)
+ | Leonard Bernstein, Mel Ulrich, Mark Risinger, Nashville Symphony Orchestra, Andrew Mogrelia | [Dybbuk: Part III: XVII. The Community (Reprise and Coda)](https://open.spotify.com/track/5iIcXI9CH52KvOdklu4Lx6)
+ | Jonathan Newman, UNLV Wind Orchestra | [Uncle Sid](https://open.spotify.com/track/67umYUqLXtlxyBUPm5b4tf)
+ | Leonard Bernstein, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | [Chichester Psalms: I. Psalm 108.2 – Psalm 100 - Live](https://open.spotify.com/track/2pmWlv9La0MU9eRyWBzztP)
+ | Leonard Bernstein, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | [Chichester Psalms: II. Psalm 23.1-4 – Psalm 2.1-4 – Psalm 23.5-6 - Live](https://open.spotify.com/track/05UArpiKFN2kMdAKau7w9l)
+ | Leonard Bernstein, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | [Chichester Psalms: III. Psalm 131 – Psalm 133.1 - Live](https://open.spotify.com/track/2vkPmRvkKPQ28Q6zXQaJjW)
+ | Eric Whitacre, Eric Whitacre Singers | [Whitacre: Five Hebrew Love Songs: Temuná (A Picture)](https://open.spotify.com/track/1kolgImUY3SFo4lI6126oJ)
+ | Eric Whitacre, Eric Whitacre Singers | [Whitacre: Five Hebrew Love Songs: Kalá Kallá (Light Bride)](https://open.spotify.com/track/1nxLqMNg5Cj4FlNJm56jQw)
+ | Eric Whitacre, Eric Whitacre Singers | [Whitacre: Five Hebrew Love Songs: Lárov (Mostly)](https://open.spotify.com/track/0wB75IGo5CYCCDLaSxxqVL)
+ | Eric Whitacre, Eric Whitacre Singers | [Whitacre: Five Hebrew Love Songs: Éyze Shéleg! (What Snow!)](https://open.spotify.com/track/4u8lry2CyORZirMa3HPtki)
+ | Eric Whitacre, Eric Whitacre Singers | [Whitacre: Five Hebrew Love Songs: Rakút (Tenderness)](https://open.spotify.com/track/7gB1vbmv4udSD0G9MVFIos)
diff --git a/content/extras/music/characters/when-i-dream.md b/content/extras/music/characters/when-i-dream.md
new file mode 100644
index 0000000..4cb38b5
--- /dev/null
+++ b/content/extras/music/characters/when-i-dream.md
@@ -0,0 +1,47 @@
+---
+title: When I Dream's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Cloudkicker | [He Would Be Riding on the Subway...](https://open.spotify.com/track/0Z0O8J1SpZIajnivRq7uhx)
+ | Cloudkicker | [And It Would Envelop Him Like a Soundless Tsunami](https://open.spotify.com/track/3p4EH8nMbMqyWSOpU98Lbe)
+ | Godspeed You! Black Emperor | [Mladic](https://open.spotify.com/track/7C74YYs3w11kyXBYBgD3Zq)
+ | This Will Destroy You | [Killed the Lord, Left for the New World](https://open.spotify.com/track/7eO8DoO8FZ3EzGQy8hm0v9)
+ | This Will Destroy You | [They Move on Tracks of Never-Ending Light](https://open.spotify.com/track/3cIG78oBauowzEbkBwWADN)
+ | Girls in Airports | [Fables](https://open.spotify.com/track/1lSmRkGTMdK1v8jxxi4y10)
+ | The Comet Is Coming | [Birth Of Creation](https://open.spotify.com/track/3CuOokDRR0Z2r1WaPRXKaF)
+ | Do Make Say Think | [The Landlord Is Dead](https://open.spotify.com/track/2sRYZZLZIgFtCjufzMi7FO)
+ | Their Dogs Were Astronauts | [Contortionist](https://open.spotify.com/track/5Hx06nPpKL3wAUcnJIgcLO)
+ | Piglet | [Caramel](https://open.spotify.com/track/1ydkCHE2sIbsnFEgPidTXt)
+ | Rooftops | [Astray Life](https://open.spotify.com/track/6cSCJQcTMWpFPfBZg1gl3h)
+ | Pretend | [Those Luminous Noises Are God](https://open.spotify.com/track/4kHdJkZvqZMsjNKlTp8NGH)
+ | Clever Girl | [Jumbo](https://open.spotify.com/track/57hpUNjkkSwM9OFp22usU4)
+ | Red Sparowes | [The Great Leap Forward Poured Down Upon Us One Day Like a Mighty Storm, Suddenly and Furiously Blinding Our Senses.](https://open.spotify.com/track/56Idr1z3NHtLW27EYp2K5j)
+ | Red Sparowes | [We Stood Transfixed in Blank Devotion as Our Leader Spoke to Us, Looking Down on Our Mute Faces with a Great, Raging, And Unseeing Eye.](https://open.spotify.com/track/0k1nhAYsVCiU5DRQ6QTtIr)
+ | Red Sparowes | [Like the Howling Glory of the Darkest Winds, This Voice Was Thunderous and the Words Holy, Tangling Their Way Around Our Hearts and Clutching Our Innocent Awe.](https://open.spotify.com/track/21SOp7ZYZpeq9JsEmPHAYN)
+ | Red Sparowes | [A Message of Avarice Rained Down and Carried Us Away into False Dreams of Endless Riches.](https://open.spotify.com/track/7j1FdHLuirbR9M1c24PhmN)
+ | Red Sparowes | ["Annihilate the Sparrow, That Stealer of Seed, And Our Harvests Will Abound; We Will Watch Our Wealth Flood In."](https://open.spotify.com/track/11znUs5WZzvmEJFCzsp3A3)
+ | Red Sparowes | [And by Our Own Hand Did Every Last Bird Lie Silent in Their Puddles, The Air Barren of Song as the Clouds Drifted Away. For Killing Their Greatest Enemy, The Locusts Noisily Thanked Us and Turned The](https://open.spotify.com/track/3JXVBqVgSCLaVpcCiB6xaM)
+ | Red Sparowes | [Millions Starved and We Became Skinnier and Skinnier, While Our Leaders Became Fatter and Fatter.](https://open.spotify.com/track/4iMuiJ8IgRfUODQ4I6Dj0s)
+ | Red Sparowes | [Finally, As That Blazing Sun Shone Down Upon Us, Did We Know That True Enemy Was the Voice of Blind Idolatry; and Only Then Did We Begin to Think for Ourselves.](https://open.spotify.com/track/2hAPFYFfbDx5dTo0nHdY2H)
diff --git a/content/extras/music/characters/why-ask-questions.md b/content/extras/music/characters/why-ask-questions.md
new file mode 100644
index 0000000..cf4456c
--- /dev/null
+++ b/content/extras/music/characters/why-ask-questions.md
@@ -0,0 +1,33 @@
+---
+title: Why Ask Questions's playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | j^p^n | [Bloom](https://open.spotify.com/track/26kPTDeIh5pTcyMuD6IonN)
+ | Effin | [Divine](https://open.spotify.com/track/4YssZJDemgkA1Tty80kDXK)
+ | Air | [How Does It Make You Feel?](https://open.spotify.com/track/4IoqGTH2D6zMrGzg9gW0DL)
+ | Thundercat | [Them Changes](https://open.spotify.com/track/7CH99b2i1TXS5P8UUyWtnM)
+ | Mega Mango | [Boggle](https://open.spotify.com/track/6FEisGZPcJyGwSpuhH1fMx)
+ | Elbow | [An Audience With The Pope](https://open.spotify.com/track/7mCsKCop7FbyTGls4hwsj1)
+ | Elbow, Richard Hawley | [The Fix](https://open.spotify.com/track/5eYi0QL0Zn9jWptJ9QMM7r)
diff --git a/content/extras/music/head.txt b/content/extras/music/head.txt
new file mode 100644
index 0000000..290df31
--- /dev/null
+++ b/content/extras/music/head.txt
@@ -0,0 +1,24 @@
+---
+title: XXX playlist
+---
+
+
+
diff --git a/content/extras/music/idumea.md b/content/extras/music/idumea.md
new file mode 100644
index 0000000..be6f608
--- /dev/null
+++ b/content/extras/music/idumea.md
@@ -0,0 +1,41 @@
+---
+title: Idumea playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Chelou | [Out of Sight](https://open.spotify.com/track/58jKZIhetr63gESwIkkTfK)
+ | Dan Deacon | [When I Was Done Dying](https://open.spotify.com/track/69L4d5HlE0YOCwWFYVFGoW)
+ | Timbre | [Song of the Sun](https://open.spotify.com/track/14DDNpwG2MjpIgBwYDAbu8)
+ | Little Tybee | [Hearing Blue](https://open.spotify.com/track/2U2jIhfr40UtW9MtZCLVet)
+ | SOHN | [The Wheel](https://open.spotify.com/track/5dJCYzLWPrhlPLhcsrkaBi)
+ | Mountain Man | [River](https://open.spotify.com/track/49DwA09X2GPwxRQJljWSKc)
+ | Chris Garneau | [Gentry](https://open.spotify.com/track/1xOcMLmKMhtGIemNEYf9Qf)
+ | JHAS | [Talking, Sleeping, Waiting](https://open.spotify.com/track/6vNrUkbSCj9pvqrdgJi2bF)
+ | the pillows | [Thank you, my twilight (Fool on cool version)](https://open.spotify.com/track/04CA1tT26k3rOjmasXnghg)
+ | FAKE TYPE. | [Carry Lucky](https://open.spotify.com/track/6CYN6FVGvemStfVt1Xw1DS)
+ | nelward | [Ghost](https://open.spotify.com/track/6EmGcKra63FXiRA6XsfAas)
+ | VOLA | [Inmazes](https://open.spotify.com/track/5kd2VhGz3HzNxwEngK4lUK)
+ | Leprous | [Foe](https://open.spotify.com/track/6ApUut34c3s54Y7VMrBXKY)
+ | Younger Brother | [Shine](https://open.spotify.com/track/0ZrDBoA7G3F0oXQ7B1QLRc)
+ | Zammuto | [It Can Feel So Good](https://open.spotify.com/track/3ZNVem5yuKAs0o7dLqCmf0)
diff --git a/content/extras/music/marsh.md b/content/extras/music/marsh.md
new file mode 100644
index 0000000..1d87502
--- /dev/null
+++ b/content/extras/music/marsh.md
@@ -0,0 +1,94 @@
+---
+title: Marsh playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Dopam!ne | [kamisama-chan](https://open.spotify.com/track/6kyJNuHcEIJ2qCShkMCYnX)
+ | OTOMIC | [Coherence](https://open.spotify.com/track/4OWuGWpCz4SInrldZtdcCe)
+ | Guilt Chip | [Missingno.](https://open.spotify.com/track/19kd2lLYyLz8SSPqstscwF)
+ | Kyroshie, Dust | [Slayers Mill](https://open.spotify.com/track/2Hne3OpADyWjfKQDzgmDur)
+ | Bankaji, Kloud Forest | [Shrimp Levels](https://open.spotify.com/track/0RQiX68RnWl3sXjyJS5wmP)
+ | Loompaskettee, herold | [Boutta Put the Sauce On It](https://open.spotify.com/track/3boQc5viH8JEAqYmRVPd0T)
+ | LIHUAYU | [996](https://open.spotify.com/track/2RNsJ8F1FM6BQWTNXwj8TH)
+ | Kyroshie | [From My Mind](https://open.spotify.com/track/2b6eHprOcww6Yxa6DZMW5f)
+ | Changeline | [OCTOPUS.LADY](https://open.spotify.com/track/4vjj0bcIG5O3FA0C9cXNR8)
+ | Ada Rook | [TRU U](https://open.spotify.com/track/5r1yRNurTtPFdRVBOhBrLF)
+ | Hudson Lee, Frequent, KOAN Sound | [Reflex Angle - KOAN Sound Remix](https://open.spotify.com/track/251aoOiVbNdHCV0B2pf2G7)
+ | Goreshit | [The Nature of Dying](https://open.spotify.com/track/1MrjlbHioxHQDfsYDHJG0F)
+ | Gramatik, Branx | [Future Crypto](https://open.spotify.com/track/77fWIj4wQz8EKpDRkoPK6R)
+ | Nosaj Thing, KAZU | [Eclipse/Blue](https://open.spotify.com/track/1OO6bLZ79F3tOGkHPD0t2i)
+ | Changeline | [PENCIL.QUEST](https://open.spotify.com/track/6IOv6nSK8ZpeOlKLvwiB7w)
+ | Clark | [Secret](https://open.spotify.com/track/21bLnN0PsCgWfXfNEQf70n)
+ | Ceptre | [Rapt](https://open.spotify.com/track/4ViE0MdFlkprHTPRkUXcWE)
+ | Space Laces | [Run DLL](https://open.spotify.com/track/6Hqfj8SEVEsRLMf7aV9rxA)
+ | Space Laces | [D.A.W](https://open.spotify.com/track/2qiNqpbZzziUVJdVe45hGg)
+ | DVRST | [REASON TO LIVE](https://open.spotify.com/track/4ct6fY3UwHrY4IJIasEDfl)
+ | Kayzo, Kamiyada+, Tisoki | [NEWS FLASH (Tisoki Remix)](https://open.spotify.com/track/7C4nn81sUVe0QWqDPJiyGw)
+ | Ethan Bortnick | [cut my fingers off](https://open.spotify.com/track/5ARrWiDDRDocvURbemcnCy)
+ | lapix | [Day by day - PSYQUI Remix](https://open.spotify.com/track/5kiluGP5yfujqTwMLin7nZ)
+ | The Buttress | [Brutus (Instrumental)](https://open.spotify.com/track/0m5xMNMK48sQVjASd4YPPt)
+ | My Brightest Diamond | [Inside a Boy - Son Lux Remix](https://open.spotify.com/track/5eQHx8RwnLJa7oNFza9GiO)
+ | Vylet Pony | [HONEYMOON PHASE (LIMERANCE)](https://open.spotify.com/track/60b7wr6iouv6hjmeBOgPgD)
+ | phonon | [emme](https://open.spotify.com/track/3p15F46vmAIGEdwHEApt4i)
+ | Floex, Olaf Stuut | [Lianas - Olaf Stuut Remix](https://open.spotify.com/track/5vQQXiKJWrFwIV5SBFCxwn)
+ | My Brightest Diamond | [To Pluto's Moon - Son Lux Remix](https://open.spotify.com/track/2x8Dvg2f0igJjm7nriplPy)
+ | Chrome Sparks | [Marijuana](https://open.spotify.com/track/63PEsIWyy3QgiPy4u5I9pG)
+ | Vernon Jane, Maniac Love | [Last Good Fuck - Maniac Love Remix](https://open.spotify.com/track/1ygqw6HOiJSmOP0AiMHvVu)
+ | Vorso | [SFX](https://open.spotify.com/track/1pYlXwVjFL0jFgwpI5bpRF)
+ | not sorry | [LD50 - VIP](https://open.spotify.com/track/1OeOZw1bIc5xWodBotRIkR)
+ | Rezz, Deathpact | [Chemical Bond](https://open.spotify.com/track/5kn2FMZoBVClbA9CV7w3k5)
+ | Dog Blood, Skrillex, Boys Noize | [BREAK LAW](https://open.spotify.com/track/223t7TwvWm5PuE1IuWpRZM)
+ | Dj Technorch | [Love Love Love You I Love You - Eye's by Eyes Remix](https://open.spotify.com/track/7qffhFJaxMp3rl5dao5Sv1)
+ | MUST DIE!, Ducky | [DELETE IT ALL](https://open.spotify.com/track/5O07W27wy7OxoRLT71zlkB)
+ | Elderbrook | [Could](https://open.spotify.com/track/3FjHWRfmNNYClBLZVtQAYT)
+ | Skest | [SWAMP SKONSTER](https://open.spotify.com/track/4c9UuO6PYqP6wMboWvbL5Z)
+ | Luke Vibert | [Knockout](https://open.spotify.com/track/1emlVDaolsPyJAtsdEZkGB)
+ | Luke Vibert | [Ready](https://open.spotify.com/track/5N45yGLwy9gIyG3r9O5AQZ)
+ | Mefjus, Camo & Krooked | [Sientelo](https://open.spotify.com/track/0VPtIe8j9wZMVTcYWURQGd)
+ | Camo & Krooked, Mefjus, Sophie Lindinger | [No Tomorrow](https://open.spotify.com/track/4KaYnQBP5CUorQKKuKmRUO)
+ | Knife Party | [Destroy Them With Lazers](https://open.spotify.com/track/4mw8LoRMvjE2SqElwT6fee)
+ | Noisia | [Tentacles](https://open.spotify.com/track/31uHF6XnKwuOqUzYM6O2CK)
+ | Figueroa, Amon Tobin | [Better Run](https://open.spotify.com/track/6qzyd6NWapUvnZQXOBIyIi)
+ | Son Lux, Lorde | [Easy (Switch Screens) [feat. Lorde]](https://open.spotify.com/track/0rkqMaZsWZzfdz4brrhS14)
+ | Trey Frey, Henry Homesweet | [Très Frais (Henry Homesweet Remix)](https://open.spotify.com/track/1txp19a6yyi4VyRP6fZgk0)
+ | Salvatore Ganacci | [Horse](https://open.spotify.com/track/0m4donue5KgOq9D9s6wfTu)
+ | Ryuichi Sakamoto | [CHASM](https://open.spotify.com/track/3vNP9yit4TRGESSxF4FQgP)
+ | Haywyre | [Restraint](https://open.spotify.com/track/42dw6pVslE7a5k24piTkCC)
+ | Henry Homesweet | [Wetiko](https://open.spotify.com/track/1fLXt4gwbpY3Jxoa9jvrBv)
+ | Clark | [Superscope](https://open.spotify.com/track/0Luimpf9YtO6ynZta48PjG)
+ | Ott | [Harwell Dekatron](https://open.spotify.com/track/2uxnU3kxN3ymVTuJTiWUZp)
+ | Trifonic | [Terminal A](https://open.spotify.com/track/4ME14EPPp62T2hugH3yjTs)
+ | Amon Tobin | [Journeyman](https://open.spotify.com/track/687qZGqKcVN9g3obktSKHk)
+ | Eskmo, Brendan Angelides | [We Got More](https://open.spotify.com/track/6MyvAyuqostquGKkXDIKu9)
+ | Popbot | [Agglomerate](https://open.spotify.com/track/4TiBxl9kfyt6mkE4wMQV0J)
+ | X&G | [HITTIT](https://open.spotify.com/track/0OllbeiB8C1XCSiZxeWCg6)
+ | Runnit | [nasti](https://open.spotify.com/track/3M1lmzO08DlyE64hZeyGxU)
+ | Stickleback | [Nasti](https://open.spotify.com/track/3b6m0TTQTWIM9sWfPcnI02)
+ | gladde paling | [5G straal (hamster)](https://open.spotify.com/track/1rwmvSZAljd5s3H7fLVHH8)
+ | Little Snake, Flying Lotus | [Fallen Angels](https://open.spotify.com/track/3DGLIRg0XCFmu0ovlDpbDN)
+ | IMPVLED | [CORRUPTED_FILE](https://open.spotify.com/track/3rTqThWx1R8lH7tHucFnsB)
+ | COPYCATT | [ALL TALK](https://open.spotify.com/track/6akbvPPqNRAGFbfRsMJ1Ab)
+ | Goreshit | [Toromi Hearts 2](https://open.spotify.com/track/2hOL86Q1TMV6Nvg3K7NOqx)
+ | Eliminate | [Elevator](https://open.spotify.com/track/7ARzyH5VceCD3kKf6IxnOx)
+ | GRiZ, Chrishira Perrier | [Feel It All](https://open.spotify.com/track/6bD33B9oE9ZtilNhHUpOBz)
diff --git a/content/extras/music/mitzvot.md b/content/extras/music/mitzvot.md
new file mode 100644
index 0000000..e7060a1
--- /dev/null
+++ b/content/extras/music/mitzvot.md
@@ -0,0 +1,108 @@
+---
+title: Mitzvot playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Alberto Ginastera, François-Xavier Poizat | [Danzas argentinas, Op. 2: I. Danza del viejo boyero (Animato allegro)](https://open.spotify.com/track/64rvql5P51R7PqtK4QiZS8)
+ | Alberto Ginastera, François-Xavier Poizat | [Danzas argentinas, Op. 2: II. Danza de la moza donosa (Dolcemente espressivo)](https://open.spotify.com/track/0iU4WfDbJIynKU16r8jFaV)
+ | Alberto Ginastera, François-Xavier Poizat | [Danzas argentinas, Op. 2: III. Danza del gaucho matrero (Furiosamente ritmico e energico)](https://open.spotify.com/track/7nXfmH97sJCZh1t4Yv4VBl)
+ | Arno Babadjanian, Sona Shaboyan | [Poem](https://open.spotify.com/track/0dOojgYcyeoH1iG71pvB0e)
+ | Samuel Barber, Leon McCawley | [Barber: Excursions, Op. 20: I. Un poco allegro](https://open.spotify.com/track/1vRVFFFWabLoTr4aXrCDPJ)
+ | Aaron Copland, Enrique Bátiz/Orquesta Filarmónica de la Ciudad de México, Enrique Bátiz, Orquesta Filarmónica de la Ciudad de México | [Dance Symphony (1999 Digital Remaster): Introduction: Lento - molto allegro](https://open.spotify.com/track/64HSuTDSaA70KRlT9qqn80)
+ | Aaron Copland, Enrique Bátiz/Orquesta Filarmónica de la Ciudad de México, Enrique Bátiz, Orquesta Filarmónica de la Ciudad de México | [Dance Symphony (1999 Digital Remaster): Andante moderato](https://open.spotify.com/track/0t1XrTg2mhwhiDJ3vx27TX)
+ | Aaron Copland, Enrique Bátiz/Orquesta Filarmónica de la Ciudad de México, Enrique Bátiz, Orquesta Filarmónica de la Ciudad de México | [Dance Symphony (1999 Digital Remaster): Allegro vivo](https://open.spotify.com/track/4M2cjH75uTs7Fspelny4xS)
+ | Paul Dooley, Illinois State University Wind Symphony, Daniel A. Belongia | [Point Blank](https://open.spotify.com/track/2KZ1fgJoReW3EtKKbpTeKm)
+ | Eric Whitacre, BYU Singers, Ronald Staheli | [A Boy and a Girl](https://open.spotify.com/track/2wsMnTKbBI4doR40qViRiO)
+ | BYU Singers | [I Will Wade Out](https://open.spotify.com/track/5iGZoTMkcFSCLTA32m8sj1)
+ | Dale Warland Singers | [Evensong - Stephen Paulus](https://open.spotify.com/track/5vfc1unmTr7v6mnA0MdsZA)
+ | The Singers - Minnesota Choral Artists, Matthew Culloton | [Pilgrims' Hymn](https://open.spotify.com/track/5Vx29LAe0aOSTX6YufWBuU)
+ | Arnold Schoenberg, Pierre Boulez | [6 Pieces, Op. 35: V. Landsknechte "Einmal muss man sterben"](https://open.spotify.com/track/7mSjFpRqOZsXO5SDnihyGM)
+ | Arnold Schoenberg, Pierre Boulez | [Drei Satiren, Op. 28: I. Am Scheideweg "Tonal oder atonal?"](https://open.spotify.com/track/08xiYKP6r4Ocb3i8PsJ84b)
+ | Arnold Schoenberg, Pierre Boulez, London Sinfonietta | [4 Pieces, Op. 27: IV. Der Wunsch des Liebhabers "Süßes Mondlicht auf den Pflaumenbäumen"](https://open.spotify.com/track/3ms5akzujzVVif2ef2DQ8A)
+ | Arnold Schoenberg, Pierre Boulez, BBC Symphony Orchestra | [Kol Nidre, Op. 39](https://open.spotify.com/track/7ogwUBPPc0bNf3drrbVZwl)
+ | Arnold Schoenberg, Pierre Boulez | [Drei Volksliedsätze, Op. 49: II. Der Mai tritt ein mit Freuden](https://open.spotify.com/track/0EVx0FZXMr2niIX1Kk1GSX)
+ | Leonard Bernstein, Michael Wager, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": Ia. Invocation. Adagio](https://open.spotify.com/track/30qvCN75RLMYSOxlOefWv4)
+ | Leonard Bernstein, Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": Ib. Kaddish 1. L'istesso tempo – Allegro molto](https://open.spotify.com/track/0lVeycY2lPx8Q7vUtjFgxx)
+ | Leonard Bernstein, Michael Wager, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIa. Din – Torah: Di nuovo adagio](https://open.spotify.com/track/26whAWXB5v6CXEw1b7k4xl)
+ | Leonard Bernstein, Montserrat Caballé, Michael Wager, Vienna Boys' Choir, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIb. Kaddish 2. Andante con tenerezza](https://open.spotify.com/track/6BljNuY4Bq9iin4pqeoqnr)
+ | Leonard Bernstein, Michael Wager, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIIa. Kaddish 3. Scherzo – Presto scherzando, sempre pianissimo](https://open.spotify.com/track/1uaNvV603WTnF35YljMMKr)
+ | Leonard Bernstein, Michael Wager, Vienna Boys' Choir, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIIb. Kaddish 3. Finale – Adagio come nel Din-Torah](https://open.spotify.com/track/3hJtzaQzzAsONxdK9dszio)
+ | Leonard Bernstein, Montserrat Caballé, Michael Wager, Vienna Boys' Choir, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | [Symphony No. 3 "Kaddish": IIIc. Kaddish 3. Allegro vivo, con gioia](https://open.spotify.com/track/5y58D7DXLbaorrZb83wa4W)
+ | Dmitri Shostakovich, Han-Na Chang, Antonio Pappano, London Symphony Orchestra | [Shostakovich: Cello Concerto No. 1 in E-Flat Major, Op. 107: I. Allegretto](https://open.spotify.com/track/3TdUEtj5N3lntNaqLgz3GN)
+ | Dmitri Shostakovich, Han-Na Chang, Antonio Pappano, London Symphony Orchestra | [Shostakovich: Cello Concerto No. 1 in E-Flat Major, Op. 107: II. Moderato](https://open.spotify.com/track/2T0MC282XxeDKooqQhOh18)
+ | Dmitri Shostakovich, Han-Na Chang, Antonio Pappano, London Symphony Orchestra | [Shostakovich: Cello Concerto No. 1 in E-Flat Major, Op. 107: III. Cadenza](https://open.spotify.com/track/2ZfvsY7MiBNVcsp0aaBWnE)
+ | Dmitri Shostakovich, Han-Na Chang, Antonio Pappano, London Symphony Orchestra | [Shostakovich: Cello Concerto No. 1 in E-Flat Major, Op. 107: IV. Finale. Allegro con moto](https://open.spotify.com/track/6V78uYAqzqggFokAv8utEp)
+ | Dmitri Shostakovich, Heinrich Schiff, Bavarian Radio Symphony Orchestra, Maxim Shostakovich | [Cello Concerto No. 2, Op. 126: 1. Largo](https://open.spotify.com/track/41PXlXBrPFHiV25X9fKyWU)
+ | Dmitri Shostakovich, Heinrich Schiff, Bavarian Radio Symphony Orchestra, Maxim Shostakovich | [Cello Concerto No. 2, Op. 126: 2. Allegretto](https://open.spotify.com/track/6hry4KoCSS7TtH95cQQx05)
+ | Dmitri Shostakovich, Heinrich Schiff, Bavarian Radio Symphony Orchestra, Maxim Shostakovich | [Cello Concerto No. 2, Op. 126: 3. Allegretto](https://open.spotify.com/track/57CReZuHtUdtwKIdl4rYus)
+ | Dmitri Shostakovich, Emerson String Quartet | [String Quartet No. 12 in D Flat Major, Op. 133: II. Allegretto - Adagio - Moderato - Allegretto - Live](https://open.spotify.com/track/01R37TkPxU9mKkjUOFXFyU)
+ | John Adams, Kent Nagano, The Opera De Lyon, London Opera Chorus | [Adams: The Death of Klinghoffer, Prologue: Chorus of Exiled Palestinians](https://open.spotify.com/track/5cPgM0du0gEi3YabyEfD5a)
+ | John Adams, Sir Simon Rattle, City Of Birmingham Symphony Orchestra | [Adams: The Chairman Dances (Foxtrot for Orchestra)](https://open.spotify.com/track/0AR6xpBb04j3hNMAD1iImJ)
+ | John Adams, Sir Simon Rattle, City Of Birmingham Symphony Orchestra | [Adams: Harmonielehre: III. Meister Eckhardt and Quackie](https://open.spotify.com/track/4XnXmrafs24PyqTrkLSK2M)
+ | Michael Nyman | [Here To There](https://open.spotify.com/track/16FSqhikE6jV5jHUP5Dlth)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, Christof Fischesser, David Wilson-Johnson, Gerhard Siegel, Netherlands Radio Choir, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: I. De Demonibus - Live](https://open.spotify.com/track/6h07mZJ2mbbQLv9bu1L7N7)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Edward Cassell | [Glanert: Requiem für Hieronymus Bosch: II. Requiem Æternam - Live](https://open.spotify.com/track/74JhXxvm6r2Hp9x9lE6hj5)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Christof Fischesser, David Wilson-Johnson, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: III. Gula - Live](https://open.spotify.com/track/5Ni6E0KjPjxyxIkyMcrejw)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, Christof Fischesser, David Wilson-Johnson, Gerhard Siegel, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: IV. Absolve Domine - Live](https://open.spotify.com/track/2sa58sk0QkYjprC33rBquA)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, David Wilson-Johnson, Gerhard Siegel, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: V. Ira - Live](https://open.spotify.com/track/0EaOzOTnAah7f18WzKA8Tr)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, Christof Fischesser, David Wilson-Johnson, Gerhard Siegel, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: VI. Dies Iræ (Live)](https://open.spotify.com/track/0pd4kEpdudhZziDpCSlmSy)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, David Wilson-Johnson, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: VII. Invidia - Live](https://open.spotify.com/track/0A2OGacshYq3je6fZILL01)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, Christof Fischesser, David Wilson-Johnson, Gerhard Siegel, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: VIII. Juste judex - Live](https://open.spotify.com/track/1aZen3l25N6KRDaubWdSBy)
+ | Detlev Glanert, Royal Concertgebouw Orchestra | [Glanert: Requiem für Hieronymus Bosch: IX. Organ solo - Live](https://open.spotify.com/track/3mpUoiMCkWoDRs6tvix1Ey)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, David Wilson-Johnson, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: X. Acedia - Live](https://open.spotify.com/track/0rgcOWzQFSdZyWtIS3Uquq)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: XI. Domine, Jesu Christe - Live](https://open.spotify.com/track/7ysWQ9lZucQqB82y1ltjU4)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, David Wilson-Johnson, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: XII. Superbia - Live](https://open.spotify.com/track/32ZTL9ff0TiZMcEf9ZQNm6)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: XIII. Sanctus - Live](https://open.spotify.com/track/4DGDRV0gJDSWuYjlvD5ipf)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Christof Fischesser, David Wilson-Johnson, Gerhard Siegel, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: XIV. Luxuria - Live](https://open.spotify.com/track/6BWVUxVpK2QxQcuZZdBEa0)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, Gerhard Siegel, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: Agnus Dei - Live](https://open.spotify.com/track/3WXrs3EoDbs5szItchhC7U)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, Christof Fischesser, David Wilson-Johnson, Gerhard Siegel, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: XVI. Avaritia - Live](https://open.spotify.com/track/3yRQVUVLJekwVXFSoYcGc0)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, Christof Fischesser, David Wilson-Johnson, Gerhard Siegel, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: XVII. Libera Me & Peccatum - Live](https://open.spotify.com/track/1xIw0Vw1ncnK3dNEsdT09W)
+ | Detlev Glanert, Royal Concertgebouw Orchestra, Aga Mikolaj, Christof Fischesser, David Wilson-Johnson, Gerhard Siegel, Ursula Hesse von den Steinen, Markus Stenz | [Glanert: Requiem für Hieronymus Bosch: XVIII. In Paradisum - Live](https://open.spotify.com/track/0Uauhbcr7tH4jw2XHrBY4I)
+ | Benjamin Britten, Gianandrea Noseda, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: i. Requiem Aeternam - Requiem aeternam](https://open.spotify.com/track/5MyPGD5xJTqe1ojMkuAvzC)
+ | Benjamin Britten, Gianandrea Noseda, Choir of Eltham College, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: ii. Requiem Aeternam - Te decet hymnus](https://open.spotify.com/track/5fEhUItKghexnDqC9RGUnB)
+ | Benjamin Britten, Gianandrea Noseda, Ian Bostridge, London Symphony Orchestra | [War Requiem, Op. 66: iii. Requiem Aeternam - "What passing-bells for these who die as cattle?"](https://open.spotify.com/track/0ldbg1tZvX3wAlCrMvoc19)
+ | Benjamin Britten, Gianandrea Noseda, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: iv. Requiem Aeternam - Kyrie eleison](https://open.spotify.com/track/1xWpevU3C1cFdYGjl0385o)
+ | Benjamin Britten, Gianandrea Noseda, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: v. Dies Irae - Dies irae](https://open.spotify.com/track/4d3s2wnK6BVsUbTHyKGCG0)
+ | Benjamin Britten, Gianandrea Noseda, Simon Keenlyside, London Symphony Orchestra | [War Requiem, Op. 66: vi. Dies Irae - "Bugles sang, saddening the evening air"](https://open.spotify.com/track/2qaoLrvkcNK0XYPbFooMQM)
+ | Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: vii. Dies Irae - Liber scriptus](https://open.spotify.com/track/0XrZIwZrmBfPsYxavD9EbJ)
+ | Benjamin Britten, Gianandrea Noseda, Ian Bostridge, Simon Keenlyside, London Symphony Orchestra | [War Requiem, Op. 66: viii. Dies Irae - "Out there, we've walked quite friendly up to Death"](https://open.spotify.com/track/0RRKMUA5Qmf23J9JqFCRiB)
+ | Benjamin Britten, Gianandrea Noseda, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: ix. Dies Irae - Recordare Iesu pie](https://open.spotify.com/track/6HulczfVPb6w2EFm4sEMY2)
+ | Benjamin Britten, Gianandrea Noseda, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: x. Dies Irae - Confutatis maledictis](https://open.spotify.com/track/0jx6UN9GrqjKjisiASns8j)
+ | Benjamin Britten, Gianandrea Noseda, Simon Keenlyside, London Symphony Orchestra | [War Requiem, Op. 66: xi. Dies Irae - "Be slowly lifted up, thou long black arm"](https://open.spotify.com/track/4RrMUJBlyunHzvV44IFYTH)
+ | Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xii. Dies Irae - Dies irae](https://open.spotify.com/track/7FDT5P6lYRcMxZkkZRZxnL)
+ | Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, Ian Bostridge, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xiii. Dies Irae - "Move him into the sun"](https://open.spotify.com/track/0XOp2W3HP4nMUxc498sXI1)
+ | Benjamin Britten, Gianandrea Noseda, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xiv. Dies Irae - Pie Iesu Domine](https://open.spotify.com/track/7voDjGj13uUIS6AWwWhomt)
+ | Benjamin Britten, Gianandrea Noseda, Choir of Eltham College, London Symphony Orchestra | [War Requiem, Op. 66: xv. Offertorium - Domine Jesu Christe](https://open.spotify.com/track/5xhc6vi0sgRi0DUVZXesGN)
+ | Benjamin Britten, Gianandrea Noseda, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xvi. Offertorium - Sed signifer Sanctus](https://open.spotify.com/track/4vZmZOGmLGInXsun3MNE8o)
+ | Benjamin Britten, Gianandrea Noseda, Ian Bostridge, Simon Keenlyside, London Symphony Orchestra | [War Requiem, Op. 66: xvii. Offertorium - "So Abram rose, and clave the wood"](https://open.spotify.com/track/6ZoZBLPTI65NK05BA2EOjo)
+ | Benjamin Britten, Gianandrea Noseda, Ian Bostridge, Simon Keenlyside, Choir of Eltham College, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xvii. Offertorium - Hostias et preces tibi](https://open.spotify.com/track/6Z0IovJyaeRftXmZGgFHqD)
+ | Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, Choir of Eltham College, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xix. Sanctus - Sanctus](https://open.spotify.com/track/0SGBD7fsjqfHzKccjqvXH1)
+ | Benjamin Britten, Gianandrea Noseda, Simon Keenlyside, London Symphony Orchestra | [War Requiem, Op. 66: xx. Sanctus - "After the blast of lightning from the East"](https://open.spotify.com/track/7BkGTWECTh6L15RuTWpfoC)
+ | Benjamin Britten, Gianandrea Noseda, Ian Bostridge, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xxi. Agnus Dei - "One ever hangs where shelled roads part" Agnus Dei](https://open.spotify.com/track/6YfDj8hzOADzRWgRn2GRlz)
+ | Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xxii. Libera Me - Libera me](https://open.spotify.com/track/4ECn7R83rXboXjpjoGao9P)
+ | Benjamin Britten, Gianandrea Noseda, Ian Bostridge, London Symphony Orchestra | [War Requiem, Op. 66: xxiii. Libera Me - "It seemed that out of battle I escaped"](https://open.spotify.com/track/3I1XiaFJ3rIrdZcY7yGB6q)
+ | Benjamin Britten, Gianandrea Noseda, Simon Keenlyside, London Symphony Orchestra | [War Requiem, Op. 66: xxiv. Libera Me - " 'None', said the other"](https://open.spotify.com/track/3o7ql157XAr3Ec8KVJxBRy)
+ | Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, Ian Bostridge, Simon Keenlyside, Choir of Eltham College, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xxv. Libera Me - "Let us sleep now…" In paradisum](https://open.spotify.com/track/5nmuuYOEMPpQofh2Ltiq69)
+ | Benjamin Britten, Gianandrea Noseda, London Symphony Chorus, London Symphony Orchestra | [War Requiem, Op. 66: xxvi. Libera Me - Requiescant in pace](https://open.spotify.com/track/6O2tL1VhX1nBAT9gP5TTpk)
+ | Charles Ives, Cincinnati Philharmonia Orchestra, Gerhard Samuel | [The Unanswered Question](https://open.spotify.com/track/7umTDygSNRwDVYvdp9CGNG)
diff --git a/content/extras/music/motes-played.md b/content/extras/music/motes-played.md
new file mode 100644
index 0000000..62b31a9
--- /dev/null
+++ b/content/extras/music/motes-played.md
@@ -0,0 +1,188 @@
+---
+title: Motes Played playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Frequent, Hudson Lee | [Day Bird Collection](https://open.spotify.com/track/1urjjr3cLpybRiEznRSWCZ)
+ | Tanger | [Fizzy](https://open.spotify.com/track/6hfhtkLH4rLw269iz9HBSf)
+ | Shawn Wasabi, Hollis | [OTTER POP (feat. Hollis)](https://open.spotify.com/track/1svyhZJQcGnrTbrxBLBs1x)
+ | Iglooghost | [Bug Thief](https://open.spotify.com/track/58jMrMZePOvsOUmR7VlKT3)
+ | Mega Mango | [Boggle](https://open.spotify.com/track/6FEisGZPcJyGwSpuhH1fMx)
+ | Mouse On Mars | [Dark Fx](https://open.spotify.com/track/1tmJ32a3LobK9pl4aByeF8)
+ | Mouse On Mars | [Scat](https://open.spotify.com/track/3JIr1H6SDv5nsoIZODjoJy)
+ | Mouse On Mars | [Tux & Damask](https://open.spotify.com/track/19LLkcqajBXHAQzmjLUEfg)
+ | Mouse On Mars | [Subsequence](https://open.spotify.com/track/1CTVpwNjl9CpD7gWCTNBYq)
+ | Lusine | [Jetstream](https://open.spotify.com/track/0zF983pbnmNCo9SnikVVJK)
+ | Ruth B. | [Dandelions](https://open.spotify.com/track/2eAvDnpXP5W0cVtiI0PUxV)
+ | Floating Points | [Argente](https://open.spotify.com/track/6s4vrjTbMNjZues9hgBThf)
+ | Xguiz, Patricia Taxxon | [Eeeaaaooo](https://open.spotify.com/track/6tOJm3QnlnZkJiahtwpCnG)
+ | múm | [Awake On A Train](https://open.spotify.com/track/6ZxIstaskZ8NB75dT9ek6P)
+ | Jaga Jazzist | [Animal Chin](https://open.spotify.com/track/3IjHy89TBmOOK8nXYgqqo7)
+ | Vernon Jane | [Praying 2 Angels](https://open.spotify.com/track/5NuF9WI6vGQTQBC6CWCK81)
+ | Haywyre | [Dichotomy (Soft Mix)](https://open.spotify.com/track/55yophjUCQIrtEz39wF2bL)
+ | Dillon Francis, Diplo, Maluca | [Que Que feat. Maluca](https://open.spotify.com/track/5P4QvdBL9aJ3ldf3GpfEy6)
+ | Röyksopp | [Eple](https://open.spotify.com/track/7pbEKdMWHGwPQSDGfcNycM)
+ | Ronald Jenkees | [Rhodes Deep](https://open.spotify.com/track/1qlmJohzYG5IarRCsw00oj)
+ | Eliminate | [Elevator](https://open.spotify.com/track/7ARzyH5VceCD3kKf6IxnOx)
+ | Grant, Juneau | [Are We Still Young](https://open.spotify.com/track/7zPAsqqz9M5qcpG42YUiug)
+ | Amon Tobin | [Three Different Hat Sizes](https://open.spotify.com/track/2LuWhwbo3qrcihwcC2Bx5j)
+ | Amon Tobin, MC Decimal R. | [Verbal](https://open.spotify.com/track/1ywyrSc0CxI1XZnkbr14Nc)
+ | Botany | [Quatic](https://open.spotify.com/track/55FIhKMfZMj7tQyHcpSGOR)
+ | Little Big | [Skibidi](https://open.spotify.com/track/4F4TGsDYacEbw4PLAIyJ2e)
+ | Mason, Princess Superstar, 1991 | [Perfect (Exceeder) - 1991 Remix](https://open.spotify.com/track/1VKWQgq0g2uKtgNfL0ceNM)
+ | xxanteria, isq | [FUNKED UP](https://open.spotify.com/track/5NtwTPKQLkAG5XC0Vj6L2l)
+ | Creeds | [Push Up - Main Edit](https://open.spotify.com/track/3AjSfp5FDvwtMU9XBsbS8j)
+ | Blockhead | [For Fork's Sake](https://open.spotify.com/track/6PEkG1LPQyGVQ5oygu06eO)
+ | Chrome Sparks | [Marijuana](https://open.spotify.com/track/63PEsIWyy3QgiPy4u5I9pG)
+ | Floex | [Veronika's Dream](https://open.spotify.com/track/4Wn5jRULq1MDfPrCAFVoDH)
+ | Owen Pallett | [Lewis Takes Action](https://open.spotify.com/track/0KLqnvSoVbaACrINlRSQma)
+ | Kyroshie | [Please Tell Me It's A Joke](https://open.spotify.com/track/3deGyGagr9nKqWGNwP3zn6)
+ | Florence + The Machine | [Dog Days Are Over](https://open.spotify.com/track/1YLJVmuzeM2YSUkCCaTNUB)
+ | The Temper Trap | [Sweet Disposition](https://open.spotify.com/track/5RoIXwyTCdyUjpMMkk4uPd)
+ | Mouse On Mars | [Stereomission](https://open.spotify.com/track/2bEFcAISP2KpoWCiWI6Pzc)
+ | Have A Nice Life | [A Quick One Before the Eternal Worm Devours Connecticut](https://open.spotify.com/track/34dkZZNQJzEJRqPkywYmEY)
+ | Blockhead | [Give Them Their Flowers](https://open.spotify.com/track/4Jk4YA2grRN78jjyT9uGmM)
+ | Anna Ternheim | [No, I Don't Remember](https://open.spotify.com/track/4CJfc5n3E4JhmQMFjTdUbp)
+ | aYia | [Ruins](https://open.spotify.com/track/2JhEXmr3ncmiQkQZW74Wza)
+ | Portico Quartet | [Knee-Deep in the North Sea](https://open.spotify.com/track/3GiL4UBkcDmqe8xu1oJoo2)
+ | Melt Yourself Down | [Fix My Life](https://open.spotify.com/track/5iDydsj3Vdz4qg785ZUtvb)
+ | Bent Knee | [Bone Rage](https://open.spotify.com/track/3w6ZkYtNRwgbQ7qxnRpHRK)
+ | Glass Animals | [Pools](https://open.spotify.com/track/7jO2B8Xgfu7D9vj60XiG7Y)
+ | Mouse On Mars | [Kompod](https://open.spotify.com/track/2mVKgtDpXmtrx2mBePRwLc)
+ | Mouse On Mars | [Kanu](https://open.spotify.com/track/7emTzJKcEo7Vcp1yyvh8LV)
+ | SHSTR | [Artificial Sunset](https://open.spotify.com/track/7MTuE4hteeNswkLiBG66Gx)
+ | SHSTR | [The Exile](https://open.spotify.com/track/0wx8nqsbTrMFvSIcpwqijE)
+ | SHSTR | [The Lamb and the Wolf](https://open.spotify.com/track/63oHO87MSNEWltvOr20joT)
+ | SHSTR | [Sightless Eyes](https://open.spotify.com/track/50aeJUmtwDth4DB682Jbvm)
+ | Never Get Used To People | [Life Letters](https://open.spotify.com/track/29VdNzgJIxzlIDkIYjFQqS)
+ | Buke & Gase | [Houdini Crush](https://open.spotify.com/track/5Rejc9qWWqmQC3Hb0aGeEz)
+ | Esperanza Spalding | [Good Lava](https://open.spotify.com/track/0SdxGQpFy67zAxNWQ0ftml)
+ | Long Arm | [Double Bass in Love](https://open.spotify.com/track/3LPkWEdyDKmHM5SkMzSeZP)
+ | Gramatik, Branx | [Future Crypto](https://open.spotify.com/track/77fWIj4wQz8EKpDRkoPK6R)
+ | Vernon Jane | [Fuck Me](https://open.spotify.com/track/1u8lE1YTkgQrXnMpPpVUC6)
+ | Juno Reactor | [God Is God](https://open.spotify.com/track/4c3AIVL5VlvlwqzPMkEenX)
+ | DROELOE | [Only Be Me](https://open.spotify.com/track/4E4gQUWMUbi0lOf98qqtuv)
+ | Four Tet, Jon Hopkins | [Angel Echoes - Jon Hopkins Remix](https://open.spotify.com/track/62Ws0LPi5yZJ7nWMdN8ZcI)
+ | Phoebe Bridgers | [Motion Sickness](https://open.spotify.com/track/6LxcPUqx6noURdA5qc4BAT)
+ | Jhariah | [PRESSURE BOMB 3?!?!](https://open.spotify.com/track/2QZbSC8GZPSLXVL4ezviiL)
+ | Haywyre | [Do You Don't You](https://open.spotify.com/track/55XVu6sTO9XyNEuu3OEijK)
+ | Lemon Jelly | [Page One](https://open.spotify.com/track/1W1dZcvhTJbZ6kQYB6SvM0)
+ | Haywyre | [Never Count On Me](https://open.spotify.com/track/18Ex4J57MhJ7ou358jFXFx)
+ | MUST DIE!, Ducky | [DELETE IT ALL](https://open.spotify.com/track/5O07W27wy7OxoRLT71zlkB)
+ | lapix | [Day by day - PSYQUI Remix](https://open.spotify.com/track/5kiluGP5yfujqTwMLin7nZ)
+ | The Buttress | [Brutus (Instrumental)](https://open.spotify.com/track/0m5xMNMK48sQVjASd4YPPt)
+ | Moon Bounce | [Drugs](https://open.spotify.com/track/1dS2BDYFU52VfFQoWqticB)
+ | Space Laces | [Vaultage 003](https://open.spotify.com/track/1eQF4JMgSGhbG6ODZs2saB)
+ | Kayzo, Kamiyada+, Tisoki | [NEWS FLASH (Tisoki Remix)](https://open.spotify.com/track/7C4nn81sUVe0QWqDPJiyGw)
+ | Space Laces | [D.A.W](https://open.spotify.com/track/2qiNqpbZzziUVJdVe45hGg)
+ | Ceptre | [Rapt](https://open.spotify.com/track/4ViE0MdFlkprHTPRkUXcWE)
+ | Runnit | [nasti](https://open.spotify.com/track/3M1lmzO08DlyE64hZeyGxU)
+ | Stickleback | [Nasti](https://open.spotify.com/track/3b6m0TTQTWIM9sWfPcnI02)
+ | ellis | [Feel That Way](https://open.spotify.com/track/1qMak6TgZIdfcCzuGIAZyU)
+ | Jain | [Come](https://open.spotify.com/track/02R2z7JWV0G8VuU1xs58OB)
+ | Rubik | [Sun's Eyes](https://open.spotify.com/track/6BSx590I5G70vsLSgUOtQK)
+ | TV On The Radio | [Quartz](https://open.spotify.com/track/0xXmPzAdGlPBaJ0csqYxYs)
+ | Air | [How Does It Make You Feel?](https://open.spotify.com/track/4IoqGTH2D6zMrGzg9gW0DL)
+ | Donovans | [Yo !](https://open.spotify.com/track/3aqo7jZDEYfdMf54batJE2)
+ | Donovans | [Rise & Fall](https://open.spotify.com/track/49063mI7ykBk32B7sc1JFg)
+ | gladde paling | [hap slik weg](https://open.spotify.com/track/0y002KpsM1aIDJALtmT7j7)
+ | ratbag | [rats in my walls](https://open.spotify.com/track/518SyWWJhPl7HHUSPfyRjL)
+ | Cheese People | [Доля риска](https://open.spotify.com/track/0nPnpl0Y5h4tVdMylsXAPZ)
+ | SWRSLT | [Pretty Cvnt](https://open.spotify.com/track/2CTcTL788DBaFLnc6QJSzv)
+ | GRiZ, Chrishira Perrier | [Feel It All](https://open.spotify.com/track/6bD33B9oE9ZtilNhHUpOBz)
+ | KOAN Sound | [Liquid Levity](https://open.spotify.com/track/4GZlLTrZY7rU7iTaFkvBQi)
+ | The Cinematic Orchestra | [Ode To The Big Sea](https://open.spotify.com/track/7bRUWmwVk8zpZtWfER4DjW)
+ | Hiatus Kaiyote | [Malika](https://open.spotify.com/track/1rFmHtg8I3YxF22TFkbOKP)
+ | Amon Tobin | [Bridge](https://open.spotify.com/track/5OI6WSmcih616fK3njeXUJ)
+ | Men I Trust | [Show Me How](https://open.spotify.com/track/01TyFEZu6mHbffsVfxgrFn)
+ | Jaga Jazzist | [Airborne](https://open.spotify.com/track/60W51PvuIPnEZFeDxUQYvZ)
+ | The Flashbulb | [Morning Run](https://open.spotify.com/track/42ABM8zfyW0FAZiozJO5Dz)
+ | Blockhead | [Carnivores Unite](https://open.spotify.com/track/56oUD9ZzgSSDFgvLHxoWyZ)
+ | Hiatus Kaiyote | [Rainbow Rhodes](https://open.spotify.com/track/1VEJWBbeBbOX6N0UwXlM3x)
+ | BADBADNOTGOOD, Leland Whitty | [Confessions (feat. Leland Whitty)](https://open.spotify.com/track/1K5RjfNOb6OLnQcAUv6M6b)
+ | Blockhead | [Ashes in the Hudson](https://open.spotify.com/track/6IWLG6T4gRPxT8WQ1dS1F2)
+ | Blockhead | [Lord of Them Thangs](https://open.spotify.com/track/1K7jVq5hzZBpMnIk0ptsFx)
+ | Blockhead | [Boundary Issues](https://open.spotify.com/track/3MF02Y0lVDHnpmz3u0nlwQ)
+ | Blockhead | [Greetings and Incelutations](https://open.spotify.com/track/7qF55f0MwuBq6UKuTlj7sH)
+ | Blockhead | [The Candy Tangerine Man](https://open.spotify.com/track/0Vh6OLJT82qI74sD6ha38l)
+ | Blockhead | [Let's Play the Feud!](https://open.spotify.com/track/4YNtqYKNGQnpSvAFLWyK6E)
+ | Blockhead | [Werewolves Love Astrology](https://open.spotify.com/track/6h5b7Xb7SZcdDhVRiEXUrK)
+ | Amon Tobin | [Chocolate Lovely](https://open.spotify.com/track/4C8GnT67x8TIdU0WGBGMi8)
+ | The Cinematic Orchestra | [Man With The Movie Camera](https://open.spotify.com/track/5JB5F9iGwQqALGClKdeOky)
+ | Bill Laurance | [The Good Things](https://open.spotify.com/track/7drkN9v3cX4CqA8gTq3pPB)
+ | Camo & Krooked, Mefjus, Sophie Lindinger | [No Tomorrow](https://open.spotify.com/track/4KaYnQBP5CUorQKKuKmRUO)
+ | Lemon Jelly | ['64 aka Go](https://open.spotify.com/track/6ycMDFsh41kYb20qMpcaYP)
+ | Dusty Brown | [This City Is Killing Me](https://open.spotify.com/track/1sIVrEY8WNhQNpON9BmXTd)
+ | ALEPH | [R.E.M.](https://open.spotify.com/track/62eu93RUHKTIg9bm6VZ6WS)
+ | Telefon Tel Aviv | [When It Happens, It Moves All by Itself](https://open.spotify.com/track/3iWujTdDJSoD5szrWFGaRF)
+ | SOHN | [Life Behind Glass](https://open.spotify.com/track/6f9qcrWRocvwwCJmXTgrDb)
+ | London Grammar | [Leave the War With Me](https://open.spotify.com/track/5TcC7QvyRQfoIImqtgkY6n)
+ | phonon | [emme](https://open.spotify.com/track/3p15F46vmAIGEdwHEApt4i)
+ | Bear Ghost, Dan E.T. | [Rivers Is A Vampire](https://open.spotify.com/track/5Ej4QdOFpwulV2GPWbfp6T)
+ | Alamaailman Vasarat | [Kebab Tai Henki!](https://open.spotify.com/track/4i80bt0e0qtfuYDUJe2mjG)
+ | Fiona Apple | [Waltz (Better Than Fine)](https://open.spotify.com/track/7neXV046ou4CNN9wyFAED6)
+ | YACHT | [I Walked Alone](https://open.spotify.com/track/6kfSLLnpy0dADpQMYNRGBM)
+ | Daedelus | [Order of the Golden Dawn](https://open.spotify.com/track/35y3vuKI65sR7xDN1Bmms5)
+ | Tomasz Stanko Quartet | [Kattorna](https://open.spotify.com/track/1ADj39oPKmDPh7jyXHexc5)
+ | Boom Bip | [The Use of Unacceptable Colours In Nature](https://open.spotify.com/track/40AV6TtV4wwy5SpC2pwue1)
+ | Dave Brubeck | [40 Days](https://open.spotify.com/track/11lsAp77IGBuiBNiZXxG5K)
+ | Skalpel | [Sculpture](https://open.spotify.com/track/7sftbhGr5Zffdmfqc8Vn3r)
+ | Clark | [Secret](https://open.spotify.com/track/21bLnN0PsCgWfXfNEQf70n)
+ | Siriusmo | [Liu](https://open.spotify.com/track/3JFBwzNht1BKVJVJLG44Cm)
+ | Shigeto | [First Saturn Return](https://open.spotify.com/track/3tfnKNTdXxLzllMod7gDFN)
+ | The Cinematic Orchestra | [Flite](https://open.spotify.com/track/1g7bl2LDCom7jtX2EmHRSF)
+ | Savath & Savalas | [Te Quiero Pero Por Otro Lado…](https://open.spotify.com/track/2ihEokHX5A4ZSgEOJu7gky)
+ | Oliver Nelson | [Stolen Moments](https://open.spotify.com/track/1sce5VJvCOYYDAR9rp9KdG)
+ | Ibrahim Maalouf | [Will Soon Be a Woman (Live au Babylon Istanbul, 2013)](https://open.spotify.com/track/64xWIjAe9NhyJCSqQWzp9s)
+ | Kokoroko | [Ewà Inú](https://open.spotify.com/track/6dSoU34pWjbjZG2gt9gnqH)
+ | Kokoroko | [Dide O](https://open.spotify.com/track/7COHkKOtDI7qSl5tIBaZYN)
+ | Kokoroko | [Soul Searching](https://open.spotify.com/track/3N7ytAAHbxItaopO4YYULB)
+ | Kokoroko | [Those Good Times](https://open.spotify.com/track/2qXrlThrUo2ePdQ1KUHGiU)
+ | Kokoroko | [Interlude](https://open.spotify.com/track/7KPa4A0Lfo8AuxKhj2OBUi)
+ | Kokoroko | [Something's Going On](https://open.spotify.com/track/7e9ReVRPkkpBGG4R1as4xI)
+ | Kokoroko | [Ti-de](https://open.spotify.com/track/4Hkcul01Ct8ToAZkc71Ktf)
+ | Kokoroko | [Uman](https://open.spotify.com/track/6PcUrU7NeRBg7i1GPE1Wyu)
+ | João Donato | [Manha de Carnaval](https://open.spotify.com/track/0kfdvJhyb0QHBG1IM9Vlht)
+ | Elis Regina, Antônio Carlos Jobim | [Só Tinha De Ser Com Você](https://open.spotify.com/track/209ucYTS6vWEV5iydrHiOt)
+ | Elis Regina, Antônio Carlos Jobim | [Fotografia](https://open.spotify.com/track/4O2tMlIxlgRwmNQDElwIq4)
+ | Antônio Carlos Jobim | [Children's Games](https://open.spotify.com/track/0oiNDJWFLPQoAm35OwT66P)
+ | beabadoobee | [the perfect pair](https://open.spotify.com/track/41P6Tnd8KIHqON0QIydx6a)
+ | DOMi & JD BECK | [SMiLE](https://open.spotify.com/track/1HJXdfuWc6IlKBMLtITaHD)
+ | DOMi & JD BECK | [WHATUP](https://open.spotify.com/track/4VOWwshTx9YrUpAGD9IzqA)
+ | DOMi & JD BECK, Thundercat | [BOWLiNG (feat. Thundercat)](https://open.spotify.com/track/3Sk51FK0sTdiRQN477u5oq)
+ | Robert Glasper, Q-Tip, Esperanza Spalding | [Why We Speak [Feat. Q-Tip & Esperanza Spalding]](https://open.spotify.com/track/7tQESAjUFNA4vi6xVOTjoQ)
+ | All Day Breakfast Cafe | [What If Nile Rodgers And Fela Kuti Were Friends](https://open.spotify.com/track/3VeOPOlEAwZU0d4jBMcBbA)
+ | Camilla George, SANITY, Daru Jones | [Creation - Abasi and Atai](https://open.spotify.com/track/2Yjaf4MMGPFiEQgAO0WrQ0)
+ | The Comet Is Coming | [LUCID DREAMER](https://open.spotify.com/track/0mubGHecC0YHTmO2pp9EJ1)
+ | atlas, Flavors | [valentine (prod. flavors)](https://open.spotify.com/track/5mpv8gh1F6B7e2OdytGZ6l)
+ | Haywyre | [Memory](https://open.spotify.com/track/7gOMB2W8ylgZkuQFagFsx2)
+ | Haywyre, CoMa | [Time](https://open.spotify.com/track/1BjfvCbE0KIHenBZdd1Wxn)
+ | Haywyre, Galimatias | [Voice of Reason](https://open.spotify.com/track/3NwRDwchI8iCk8Ru3gpUoV)
+ | Moonchild | [The List](https://open.spotify.com/track/5mWh956KP56IWMbLBfxdqj)
+ | Hiatus Kaiyote | [Mobius Streak](https://open.spotify.com/track/08o9yCplgxLM11ymhvkbl8)
+ | PJ Morton, Yebba | [How Deep Is Your Love (feat. Yebba) - Live](https://open.spotify.com/track/3SjAiqAQ6sMmsJBeVw0nMf)
+ | Dana and Alden, quickly\, quickly | [Coconut Water](https://open.spotify.com/track/48HATQmXssKoCAqhaFjtAh)
+ | Clara Mendes | [Útil Paisagem](https://open.spotify.com/track/4DuE8wVFGkhuA5GmZqkZcz)
+ | Thundercat | [Them Changes](https://open.spotify.com/track/7CH99b2i1TXS5P8UUyWtnM)
+ | Justice | [D.A.N.C.E](https://open.spotify.com/track/33yAEqzKXexYM3WlOYtTfQ)
diff --git a/content/extras/music/neviim.md b/content/extras/music/neviim.md
new file mode 100644
index 0000000..e9a7ac2
--- /dev/null
+++ b/content/extras/music/neviim.md
@@ -0,0 +1,33 @@
+---
+title: Nevi'im playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | San Fermin | [The Woods](https://open.spotify.com/track/0pd7F7P48KLCYbQWY6U807)
+ | Miracle Musical | [The Mind Electric](https://open.spotify.com/track/2aDk1KkyB7ieSwwEDXCHJg)
+ | Goreshit | [The Nature of Dying](https://open.spotify.com/track/1MrjlbHioxHQDfsYDHJG0F)
+ | The Comet Is Coming | [Birth Of Creation](https://open.spotify.com/track/3CuOokDRR0Z2r1WaPRXKaF)
+ | Gotye | [State Of The Art](https://open.spotify.com/track/408QQavPDnC2iXSqVgU3EV)
+ | Hecq | [Bête Noire](https://open.spotify.com/track/13NQ17cpLr2fybZ38AkuCi)
+ | Hecq | [Bane](https://open.spotify.com/track/34CvPQftKcrQxSUxTtBvua)
diff --git a/content/extras/music/qoheleth.md b/content/extras/music/qoheleth.md
new file mode 100644
index 0000000..399ca4e
--- /dev/null
+++ b/content/extras/music/qoheleth.md
@@ -0,0 +1,341 @@
+---
+title: Qoheleth playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | Ben Salisbury, Geoff Barrow | [What Do You Know?](https://open.spotify.com/track/4PYkiul9hjpW4RNSHRrJRR)
+ | Ben Salisbury, Geoff Barrow | [Ambulance Chase](https://open.spotify.com/track/7mOxAfHsYo0SsmPhVKEWVD)
+ | Ben Salisbury, Geoff Barrow | [Approaching the Shimmer](https://open.spotify.com/track/3ULapvPU8DcInhd4o5PhYJ)
+ | Ben Salisbury, Geoff Barrow | [Disoriented](https://open.spotify.com/track/6pFlQy20pWMyBb47sDlVa5)
+ | Ben Salisbury, Geoff Barrow | [The Alligator](https://open.spotify.com/track/0juXJUnKNGLiJCqPO1sY2a)
+ | Ben Salisbury, Geoff Barrow | [For Those That Follow](https://open.spotify.com/track/2YYKcu6R5QDfcWX4oCVpdX)
+ | Ben Salisbury, Geoff Barrow | [The Swimming Pool](https://open.spotify.com/track/7jG7p7VMHcVXm6Je5T5DZO)
+ | Ben Salisbury, Geoff Barrow | [The Watchtower](https://open.spotify.com/track/7l0UcQcITJgWRVsgJgYwH1)
+ | Ben Salisbury, Geoff Barrow | [Sheppard](https://open.spotify.com/track/4kpUsBfquW2AXd2rN6IOkq)
+ | Ben Salisbury, Geoff Barrow | [The Body](https://open.spotify.com/track/1DivRhfSZKJK2QxHBL6qwJ)
+ | Ben Salisbury, Geoff Barrow | [Plant People](https://open.spotify.com/track/3ABLZBrDuNuqGtKPgwfxD6)
+ | Ben Salisbury, Geoff Barrow | [Cells Divide](https://open.spotify.com/track/6pTGmUcqGlgpwVLVNZicqT)
+ | Ben Salisbury, Geoff Barrow | [The Bear](https://open.spotify.com/track/5GJ5gz0oFr13YVnkQWDhtW)
+ | Ben Salisbury, Geoff Barrow | [The Beach](https://open.spotify.com/track/2MUrfbDGVkBtSsexxlgGW3)
+ | Ben Salisbury, Geoff Barrow | [Were You Me?](https://open.spotify.com/track/1DUR5rEBEaOEr0mRaeNHE5)
+ | Ben Salisbury, Geoff Barrow | [Lighthouse Chamber](https://open.spotify.com/track/2o5hXb5BiNY5jGeOxLRqYG)
+ | Ben Salisbury, Geoff Barrow | [The Alien](https://open.spotify.com/track/3M0YZKONqBRpxPMDTKA1WP)
+ | Ben Salisbury, Geoff Barrow | [Annihilation](https://open.spotify.com/track/2xS8vyJmeWBr0ThwgK7OTK)
+ | Cliff Martinez | [Is That What Everybody Wants](https://open.spotify.com/track/37HGk102fbFIycZv6OOd6L)
+ | Cliff Martinez | [First Sleep](https://open.spotify.com/track/5iTNbszxj1Hw0AUc7wW2X0)
+ | Cliff Martinez | [Can I Sit Next to You](https://open.spotify.com/track/1ahEoDsfOOundgdwQQjxKL)
+ | Cliff Martinez | [Will She Come Back](https://open.spotify.com/track/2wrbg13lhxOtbigzryMqhN)
+ | Cliff Martinez | [Death Shall Have No Dominion](https://open.spotify.com/track/5J9TeeHF2PQqhJmQeCx559)
+ | Cliff Martinez | [Maybe You're My Puppet](https://open.spotify.com/track/3MbpUO6YE0EbwRDixbnI3p)
+ | Cliff Martinez | [Don't Blow It](https://open.spotify.com/track/11vZYwrj6XindaL3xUbykY)
+ | Cliff Martinez | [Hi Energy Proton Accelerator](https://open.spotify.com/track/6l2DLrmHxQRRMEOxTEZtd5)
+ | Cliff Martinez | [Wear Your Seat Belt](https://open.spotify.com/track/0SQoVlfuKF9lvUAjBwBELv)
+ | Cliff Martinez | [Wormhole](https://open.spotify.com/track/1LKx7LRgh5BNZwgKuCRmye)
+ | Cliff Martinez | [We Don't Have to Think Like That Anymore](https://open.spotify.com/track/6HSPvO0VOv1nRUKpvJr5C1)
+ | Jóhann Jóhannsson | [Arrival](https://open.spotify.com/track/4KBwrmtoKe5QjfW2RhhpOf)
+ | Jóhann Jóhannsson | [Heptapod B](https://open.spotify.com/track/0wvldPbWwuellRqCfzL4eu)
+ | Jóhann Jóhannsson | [Sapir-Whorf](https://open.spotify.com/track/6kSjrmelOKQDaK9EwXM6lH)
+ | Jóhann Jóhannsson | [Hydraulic Lift](https://open.spotify.com/track/6MJfWycSxII8VsoqhOkWpa)
+ | Jóhann Jóhannsson | [First Encounter](https://open.spotify.com/track/7Et10xE2nh3VG94O1948Zh)
+ | Jóhann Jóhannsson | [Transmutation at a Distance](https://open.spotify.com/track/3zkEJP943rHOY62UUnvHwn)
+ | Jóhann Jóhannsson | [Around the Clock News](https://open.spotify.com/track/6BYQpDXoGEkLYebhhnCthi)
+ | Jóhann Jóhannsson | [Xenolinguistics](https://open.spotify.com/track/2Dge9zwQPqBxsZMnIphwwD)
+ | Jóhann Jóhannsson | [Ultimatum](https://open.spotify.com/track/1LJVB2YaySkpVJFE476tRm)
+ | Jóhann Jóhannsson | [Principle of Least Time](https://open.spotify.com/track/0Q5KHLOMdpVFB2IIjEw8dl)
+ | Jóhann Jóhannsson | [Hazmat](https://open.spotify.com/track/6VOgZ2xzvWflp44QZucpTv)
+ | Jóhann Jóhannsson | [Hammers and Nails](https://open.spotify.com/track/3M0XCMo3jiVxFIZzFO4Oio)
+ | Jóhann Jóhannsson | [Xenoanthropology](https://open.spotify.com/track/3kdrT8EIozoq9yaipUmgDe)
+ | Jóhann Jóhannsson | [Non-Zero-Sum Game](https://open.spotify.com/track/0phDhOS0iEC2xG6SG7xj7l)
+ | Jóhann Jóhannsson | [Properties of Explosive Materials](https://open.spotify.com/track/7d8RZm17X89KC6IeK2oUAx)
+ | Jóhann Jóhannsson | [Escalation](https://open.spotify.com/track/2z48feJ6L82BkkQ92nrGaq)
+ | Jóhann Jóhannsson | [Decyphering](https://open.spotify.com/track/0XkigGwAEa97JNcsTzxNHJ)
+ | Jóhann Jóhannsson | [One of Twelve](https://open.spotify.com/track/1MoN51Q8Mm7A5DsllooVFS)
+ | Jóhann Jóhannsson | [Rise](https://open.spotify.com/track/70efLf4vXM5rCNtFu82HX5)
+ | Jóhann Jóhannsson | [Kangaru](https://open.spotify.com/track/5Uoa2uh62TtDR1fLmVXJyW)
+ | Max Richter, Louisa Fuller, Natalia Bonner, John Metcalfe, Philip Sheppard, Chris Worsey | [On The Nature Of Daylight](https://open.spotify.com/track/7HvhQfQDlYCB4n73r4duw2)
+ | Hildur Guðnadóttir | [Hoyt's Office](https://open.spotify.com/track/1UdiJ6Y2eisfQQ76MZOX4B)
+ | Hildur Guðnadóttir | [Defeated Clown](https://open.spotify.com/track/2S2ASICVK0L1LtjaysKsel)
+ | Hildur Guðnadóttir | [Following Sophie](https://open.spotify.com/track/3iX22wD2o9YQLvkXOPUHgx)
+ | Hildur Guðnadóttir | [Penny in the Hospital](https://open.spotify.com/track/0J4ZIUe41KyDVDd4ZjgHak)
+ | Hildur Guðnadóttir | [Young Penny](https://open.spotify.com/track/0u2NLEpkGaPwFptuhWkVwY)
+ | Hildur Guðnadóttir | [Meeting Bruce Wayne](https://open.spotify.com/track/5HaKAODFS4Md49bVyYSp1y)
+ | Hildur Guðnadóttir | [Hiding in the Fridge](https://open.spotify.com/track/7v9PHznmxWpqLnDC2ZJXTB)
+ | Hildur Guðnadóttir | [A Bad Comedian](https://open.spotify.com/track/5x7zV8WBDXfNCkUYOffc8d)
+ | Hildur Guðnadóttir | [Arthur Comes to Sophie](https://open.spotify.com/track/0dvAO2KbsqDZGv8g03JFRy)
+ | Hildur Guðnadóttir | [Looking for Answers](https://open.spotify.com/track/6CYwk3fy8OPIy4ibjNlNv6)
+ | Hildur Guðnadóttir | [Penny Taken to the Hospital](https://open.spotify.com/track/40RaUosMp8ROAFVeqrKZGw)
+ | Hildur Guðnadóttir | [Subway](https://open.spotify.com/track/5v4fLdYC2vnAZkNiUQOzMM)
+ | Hildur Guðnadóttir | [Bathroom Dance](https://open.spotify.com/track/4WiqPbWvLbv317E8fB4SJC)
+ | Hildur Guðnadóttir | [Learning How to Act Normal](https://open.spotify.com/track/0voDqz72ORk3JETp1OUZiz)
+ | Hildur Guðnadóttir | [Confession](https://open.spotify.com/track/510PIa8YyYMp4rfeni1N07)
+ | Hildur Guðnadóttir | [Escape from the Train](https://open.spotify.com/track/73AkJzcsv5pm3uNqcUd9pZ)
+ | Hildur Guðnadóttir | [Call Me Joker](https://open.spotify.com/track/257SoE95qEweGItCB9Q5rE)
+ | Hildur Guðnadóttir | [The Door](https://open.spotify.com/track/0aud7NouD28YTcD7WJzioD)
+ | Hildur Guðnadóttir | [Bridge of Death](https://open.spotify.com/track/5VwxuwHdpY19gZvyA7TlyU)
+ | Hildur Guðnadóttir | [Turbine Hall](https://open.spotify.com/track/1cS7AxpJiwDhCh7v2B0LRd)
+ | Homin Lviv Municipal Choir | [Vichnaya Pamyat](https://open.spotify.com/track/5NU8pIT0Yp8wgaUiHZM90w)
+ | Hildur Guðnadóttir | [Pump Room](https://open.spotify.com/track/0QaXPrIEeDhRZCLqzJo7ED)
+ | Hildur Guðnadóttir | [Clean Up](https://open.spotify.com/track/6dXQxlyj1fMPhX8i7LfP4d)
+ | Hildur Guðnadóttir | [Dealing With Destruction](https://open.spotify.com/track/14LxYedUSDzuNwalQPgTGu)
+ | Hildur Guðnadóttir | [Waiting for the Engineer](https://open.spotify.com/track/5J8q5cw7J5O7FUWn3VQ8kQ)
+ | Hildur Guðnadóttir | [Gallery](https://open.spotify.com/track/0GvSIY2o7974HN53WZZDIi)
+ | Hildur Guðnadóttir | [12 Hours Before](https://open.spotify.com/track/3pcrD4NBBBQGMJATRhk25C)
+ | Hildur Guðnadóttir | [Corridors](https://open.spotify.com/track/4f76tcz3PKwty5QVA8JVCA)
+ | Hildur Guðnadóttir | [Líður - Chernobyl Version](https://open.spotify.com/track/6HVsARWIlJiv6ujVfEbTlH)
+ | Hildur Guðnadóttir | [Evacuation](https://open.spotify.com/track/5peOOgPogTScqCtUtm0MF5)
+ | Electric Youth | [Modern Fears - Pilotpriest Come True Version](https://open.spotify.com/track/4piNjR6dYbh5IEYaVbgdAa)
+ | Electric Youth | [Runaway - Pilotpriest Come True Version](https://open.spotify.com/track/6BgCxKTKOJS1yenEHS9TA0)
+ | Electric Youth, Pilotpriest | [Coelocanth](https://open.spotify.com/track/7gCu17NuqqWivvD1nHskUC)
+ | Electric Youth | [Come True](https://open.spotify.com/track/29qyIGLF7AR9c9NNf8txkn)
+ | Electric Youth | [Prologue](https://open.spotify.com/track/2JuVPpJ0fRu2Y0xqPd03Dv)
+ | Electric Youth | [The Seeker](https://open.spotify.com/track/1TSgJM4vLVBsVGJ0g0lGbV)
+ | Electric Youth | [Don't Know Her](https://open.spotify.com/track/3jMhEbltB4qa1ijplfl72L)
+ | Pilotpriest | [Title](https://open.spotify.com/track/2FfDI6QCCnvWgqHrVp8nnb)
+ | Pilotpriest | [Rested](https://open.spotify.com/track/4O9qMAjFBRp9QYuLdu3uTK)
+ | Electric Youth | [Lost Girl](https://open.spotify.com/track/5znC7rPbHCfivcuyHvu37I)
+ | Electric Youth | [Hall of Glass](https://open.spotify.com/track/5gurRutNnCeM3AxbsvdD1Z)
+ | Pilotpriest | [Watching](https://open.spotify.com/track/7ERhmyAVLQ59OTlJNzAcf6)
+ | Pilotpriest | [Nothing](https://open.spotify.com/track/0yQKS7CvHaengLXPY3kl9B)
+ | Electric Youth | [Sarah](https://open.spotify.com/track/1iCAHJk8pld30YgKhqZALZ)
+ | Pilotpriest | [Forgiven](https://open.spotify.com/track/1dhgu2cBM8WmfOObR2OQLo)
+ | The Newton Brothers | [Abide With Me](https://open.spotify.com/track/0PcKKeLU7eYbirCHoKVxcj)
+ | The Newton Brothers | [Hail the Day that Sees Him Rise](https://open.spotify.com/track/6ITwiwTaS7QluVFbnye0JJ)
+ | The Newton Brothers | [Holy Holy Holy](https://open.spotify.com/track/2J9reOzClbvDHAMC0uc6xZ)
+ | The Newton Brothers | [Lead Kindly Light](https://open.spotify.com/track/4RfBoeHl1GD3jFPkfzXSKH)
+ | The Newton Brothers | [Come, Darkness](https://open.spotify.com/track/41fk5AVSD6KSE4Zr2UTl8m)
+ | The Newton Brothers | [Were You There](https://open.spotify.com/track/3x9tUWYF1AircEDZohiJrc)
+ | The Newton Brothers | [O Sons and Daughters](https://open.spotify.com/track/23gQVy29gLhbV5hHGBVhD1)
+ | The Newton Brothers | [Holy God We Praise Thy Name](https://open.spotify.com/track/0A1czIKjy9hLHvFRD86iMI)
+ | The Newton Brothers | [Nearer My God To Thee](https://open.spotify.com/track/7teVogYyH0Wb7dqALqplzf)
+ | The Newton Brothers | [The Power of Faith](https://open.spotify.com/track/4cp0O3Syex3xyjj8vFZU1O)
+ | The Newton Brothers | [Mortuus Feles](https://open.spotify.com/track/6kiKdP8j48NBaQ7ASUNnsz)
+ | The Newton Brothers | [Mercy](https://open.spotify.com/track/2WSfFalTbg8bW2uZ56ZfyS)
+ | The Newton Brothers | [Aftermath](https://open.spotify.com/track/1xlmHM77f9bQUcnjhT6Zuk)
+ | The Newton Brothers | [Dignity](https://open.spotify.com/track/5IEp1Ozue5cfV8MRLQC8VD)
+ | The Newton Brothers | [The Sea](https://open.spotify.com/track/5xh5WwzKezA1kIiJecb9c3)
+ | The Newton Brothers | [Angel of God](https://open.spotify.com/track/0ylqyfsGxiXdOyfUMf7QDg)
+ | The Newton Brothers | [Lead Kindly Light (Instrumental)](https://open.spotify.com/track/5xFkh78chItueKD1VfsPjt)
+ | The Newton Brothers | [Faith & Family Blood](https://open.spotify.com/track/46ZLBXVTUYHirPQ70ulWur)
+ | The Newton Brothers | [Prayer](https://open.spotify.com/track/4ippyBANHrPRiwnyIm9U4H)
+ | The Newton Brothers | [Act of Contrition](https://open.spotify.com/track/5Yc2pA6dWyDUFY2bfYvYCp)
+ | The Newton Brothers | [Hurt](https://open.spotify.com/track/5PCUnHG7mUaLLCuFr36suV)
+ | The Newton Brothers | [12th Century Revenants](https://open.spotify.com/track/7KRY3Dg08rOzB7kPhAQCyx)
+ | The Newton Brothers | [Communion](https://open.spotify.com/track/6fHs3VemHK77Cq9ToFmSjh)
+ | The Newton Brothers | [Nearer My God To Thee (Instrumental)](https://open.spotify.com/track/07sfSbq6VwEM6aKjB0p4xz)
+ | The Newton Brothers | [Body of Christ](https://open.spotify.com/track/0DdwLBxhFlASnniVAYjHgs)
+ | The Newton Brothers | [Were You There (Instrumental)](https://open.spotify.com/track/5xcqyZe147tZ37fVf3KWq7)
+ | Jóhann Jóhannsson | [Armoured Vehicle](https://open.spotify.com/track/4MV4b1CbDQA0ecXdUZT0DV)
+ | Jóhann Jóhannsson | [The Beast - From "Sicario"](https://open.spotify.com/track/5KwLjZ0oJ5kNl7jGtdiIOC)
+ | Jóhann Jóhannsson | [The Border](https://open.spotify.com/track/2nGe8PeDIYPL8WwFnkOE9X)
+ | Jóhann Jóhannsson | [Drywall](https://open.spotify.com/track/0ebaQqjDRlpfmSPA1CJOzS)
+ | Jóhann Jóhannsson | [Explosion](https://open.spotify.com/track/6hbW1swwx3aUIvJu1RVo55)
+ | Jóhann Jóhannsson | [Desert Music](https://open.spotify.com/track/03RruqL6P3illbLLitAKnB)
+ | Jóhann Jóhannsson | [Target](https://open.spotify.com/track/6f1a8YrVPgUS1FlgLuZCiz)
+ | Jóhann Jóhannsson | [Convoy](https://open.spotify.com/track/2sRWX53pyWT4NHh8U8dAfV)
+ | Jóhann Jóhannsson | [The Bank](https://open.spotify.com/track/4IzIGJ3Wti1JQ0C90hQyal)
+ | Jóhann Jóhannsson | [Surveillance](https://open.spotify.com/track/6oaWcTf869W77d9AnJNWjR)
+ | Jóhann Jóhannsson | [Reflection](https://open.spotify.com/track/6K2lDUwJ7gJXXyeRJ7L2Rj)
+ | Jóhann Jóhannsson | [Melancholia](https://open.spotify.com/track/65k3wKdFTFXfeZHYDP1cMe)
+ | Jóhann Jóhannsson | [Night Vision](https://open.spotify.com/track/4jBJPHQWq9FH3NCqOdH7Rg)
+ | Jóhann Jóhannsson | [Tunnel Music](https://open.spotify.com/track/7a4KbWDrECJWgJAcCGtNLD)
+ | Jóhann Jóhannsson | [Fausto](https://open.spotify.com/track/0j01xYLnun6ek2b03bGF0H)
+ | Jóhann Jóhannsson | [Balcony](https://open.spotify.com/track/1IqwoO63w91XgIk1C8G5Ol)
+ | Jóhann Jóhannsson | [Soccer Game](https://open.spotify.com/track/55h1vYt3utYrc6ltI97PAx)
+ | Jóhann Jóhannsson | [Alejandro's Song](https://open.spotify.com/track/7wD0b6gMa6bOxyag0N3IHh)
+ | Ben Salisbury | [Plainsong](https://open.spotify.com/track/0YiKoeSKJ6bxZr17g0iRwW)
+ | The Insects | [Stranger Danger](https://open.spotify.com/track/6yxTAuxptj8GBN9supKWFT)
+ | Ben Salisbury | [Amaya Corporation](https://open.spotify.com/track/0MZQfw6ewxHvyAPwvfc4K3)
+ | Ben Salisbury, Geoff Barrow | [Entering Devs / The Machine](https://open.spotify.com/track/4OHeBgOvvF2P8k6sq3HbMK)
+ | Ben Salisbury, Geoff Barrow | [Stealing The Code](https://open.spotify.com/track/6MOAa3YUutxSdh0RmuL4Aa)
+ | Ben Salisbury | [Two Concurrent States (Plainsong, Pt. 2)](https://open.spotify.com/track/239tZrsxv9C6euER9MVsX9)
+ | The Insects | [Tramlines](https://open.spotify.com/track/4FuFEiwIPVOaXazixAVH7g)
+ | The Insects | [Were You Listening?](https://open.spotify.com/track/3b3VpkVgn4Al3x8jPKroFn)
+ | Ben Salisbury, Geoff Barrow | [Suffocation](https://open.spotify.com/track/6oL3IkY6iibKNGdeKEE004)
+ | The Insects, Ben Salisbury | [You're Fired](https://open.spotify.com/track/3JQgNxzv8YmFp1yvfUEqNN)
+ | The Insects | [Christ](https://open.spotify.com/track/5NUZTRxbt3pNHmGAX6BDvc)
+ | Ben Salisbury, Geoff Barrow | [Sudoku](https://open.spotify.com/track/5in7m2xyPhjrjRki4d9k43)
+ | Ben Salisbury | [Amaya's Theme - Version 1](https://open.spotify.com/track/749JTYkGRHbIjvN9qZPc2r)
+ | Ben Salisbury | [The Visualisation Chamber](https://open.spotify.com/track/1VxHv9nejH1Tn37FozFOS5)
+ | The Insects | [Reporting a Crime](https://open.spotify.com/track/4AVWxWNeCYN49SHRluEOzi)
+ | Ben Salisbury | [All Possible Worlds](https://open.spotify.com/track/0zzwVHf6hGatw6M6yqdky6)
+ | The Insects | [I'm a Tank](https://open.spotify.com/track/3CgEC074f1esYFYuZ2QeYt)
+ | Ben Salisbury | [Specifically You](https://open.spotify.com/track/6IOVwKvRFmDjWhycZjlUOp)
+ | Ben Salisbury | [Crash No Crash](https://open.spotify.com/track/66XKuK1lY1hofltSkIJ7T5)
+ | Ben Salisbury | [Stay In My Bed](https://open.spotify.com/track/5tx2lJ72804fgGW69hFpW6)
+ | Suvi-Eeva Äikäs, Ben Salisbury | [Object Input](https://open.spotify.com/track/5i9D2c5WCxwJ9W5ZbC0RbY)
+ | Ben Salisbury | [All Buddies Now](https://open.spotify.com/track/6xyRjmkoBRdJ2NP3BL6v0t)
+ | Ben Salisbury, Suvi-Eeva Äikäs | [Keep Extrapolating](https://open.spotify.com/track/0vuDDo5Lg8kNTnSAILcVxr)
+ | The Insects | [Someone Crazy](https://open.spotify.com/track/6MLXiuGrmx5F13uaY3gJZ3)
+ | The Insects | [Ad Infinitum Ad Nauseam](https://open.spotify.com/track/2be6tagNwAfqlKqX2X0THo)
+ | Ben Salisbury | [Aubade](https://open.spotify.com/track/5ThBIZScJPtoARP9hRSQSg)
+ | The Insects | [You Were Counting In Russian](https://open.spotify.com/track/71awFunu6VbevBkpNUnzPH)
+ | Ben Salisbury, Geoff Barrow | [Cause And Effect](https://open.spotify.com/track/4jgICLEd9aNmCU6xIXKLHl)
+ | Ben Salisbury | [Aftermath](https://open.spotify.com/track/11ocA3RCgaefdQ143qvW1i)
+ | Ben Salisbury | [The Universe Is Deterministic (Plainsong, Pt. 3)](https://open.spotify.com/track/2wCEpC5FOPqwziXVZPNVIW)
+ | Ben Salisbury, Geoff Barrow | [The Day Will Break](https://open.spotify.com/track/26hGKpBoijcrenbydVDqoG)
+ | The Insects | [The Second Coming](https://open.spotify.com/track/5nS7edb7UAtYlJZVwu3Zfv)
+ | Ben Salisbury | [Resurrection](https://open.spotify.com/track/7iy7DrwWjEbNAWdPF6blEV)
+ | Ben Salisbury | [Your System Breaks](https://open.spotify.com/track/1bCyLOyJ3ZhYclS2dHCPP2)
+ | The Insects | [This Is Where You Say Goodbye](https://open.spotify.com/track/6rcg5fjMsJLwKsCtkcJUnD)
+ | The Insects | [Predetermined](https://open.spotify.com/track/3ijmstmOZ4f1c97kgEGAqI)
+ | Ben Salisbury | [Amaya's Theme - Version 2](https://open.spotify.com/track/7EpfVd2uadMJWqJJxYXieD)
+ | Cristobal Tapia De Veer | [Layers](https://open.spotify.com/track/27gt9MBpqfXdwFrPokT2Nh)
+ | Cristobal Tapia De Veer | [Devious](https://open.spotify.com/track/0SLbskbbbxlitC9Vs6Bx71)
+ | Cristobal Tapia De Veer | [Naughty Cat](https://open.spotify.com/track/7gluxuAPrGnUC6VXj2XbTN)
+ | Cristobal Tapia De Veer | [I Remember Everything](https://open.spotify.com/track/7lrwPL4deo8mcHC6190qLE)
+ | Cristobal Tapia De Veer | [Estranged](https://open.spotify.com/track/5PjYu50uXCxNpRkbyXxbD5)
+ | Cristobal Tapia De Veer | [The Public](https://open.spotify.com/track/5Bunr5aANXt2oZBXnZ2lyS)
+ | Cristobal Tapia De Veer | [Another Layer](https://open.spotify.com/track/1jRy7Rqd9AsUOLNMPwuV5d)
+ | Cristobal Tapia De Veer | [I Remember Everything (She's Just a Girl)](https://open.spotify.com/track/5VD5FEZBtcZmZPF5mCjcZs)
+ | Cristobal Tapia De Veer | [White Rose](https://open.spotify.com/track/4CvYcTgh4GoaNbuICFfnXo)
+ | Cristobal Tapia De Veer | [Devious Daddy](https://open.spotify.com/track/2lZ4Ky5J2jyP0C1SJNyxSn)
+ | Cristobal Tapia De Veer | [I Remember Everything (Kids)](https://open.spotify.com/track/2myCyNYqHuWZNhiTNIDuza)
+ | Cristobal Tapia De Veer | [What If He Did It to Me?](https://open.spotify.com/track/4cge48tQTbRbmGkTaKYGVT)
+ | Cristobal Tapia De Veer | [Dee (Happy Birthday)](https://open.spotify.com/track/5DCM3C93bFbVja9JBLLzwz)
+ | Cristobal Tapia De Veer | [Or... We Could Have a Drink Together](https://open.spotify.com/track/0Suaug3y9agBfqmJ5rR8S3)
+ | Cristobal Tapia De Veer | [Paul vs Paul](https://open.spotify.com/track/74famuP144CakuVtpEmnNH)
+ | Cristobal Tapia De Veer | [Why She Loves You and Not Me?](https://open.spotify.com/track/1VAaBS1pMN647yFmVlLYdN)
+ | Cristobal Tapia De Veer | [Father & Daughter (I'm a Good Man)](https://open.spotify.com/track/6J1XihZHzgB3h4hJzF9JdP)
+ | Cristobal Tapia De Veer | [I Choose to Believe](https://open.spotify.com/track/7iNfRdGfWMOnvRG2FhjKIw)
+ | Cristobal Tapia De Veer | [Prayer](https://open.spotify.com/track/1etHz4G8uTVMMNLVe1Xp9b)
+ | Cristobal Tapia De Veer | [Devious Buddies](https://open.spotify.com/track/5Cdr7acVMN41uAaBMyaDCy)
+ | Cristobal Tapia De Veer | [I Remember Everything (Too Much for All of Us)](https://open.spotify.com/track/0iFOY7yYLCZdf7rLncvLC7)
+ | Cristobal Tapia De Veer | [Well Tipped](https://open.spotify.com/track/2mexmd0mfofjDPm1MVsDIr)
+ | Cristobal Tapia De Veer | [Beach Party](https://open.spotify.com/track/6uudF0uMeK43wy8hzKOD29)
+ | Cristobal Tapia De Veer | [Dee (Damaged)](https://open.spotify.com/track/6zUff2BRI3mQbpuSVD4QBF)
+ | Cristobal Tapia De Veer | [Can I Come Home, Dad?](https://open.spotify.com/track/2qB3ErigErlfx3DSD5VqNz)
+ | Cristobal Tapia De Veer | [The Third Layer](https://open.spotify.com/track/0oG7CbSIQZUMSIxxhJ0M9S)
+ | Cristobal Tapia De Veer | [The Trial](https://open.spotify.com/track/7n1JPwSFRDq1n3HKWrkUbY)
+ | Cristobal Tapia De Veer | [Always Look Forwards](https://open.spotify.com/track/5CtaSIIPBqbbknK9Gcg5mz)
+ | Cristobal Tapia De Veer | [Marie](https://open.spotify.com/track/1O7OjZ5cjk1ArciR8pdhhO)
+ | Bohren & Der Club Of Gore | [Midnight Black Earth](https://open.spotify.com/track/4RWPfyAtyDtA0zebsL2pqc)
+ | Bohren & Der Club Of Gore | [Crimson Ways](https://open.spotify.com/track/6DCucKDvfe2Hqc3PWMB9rF)
+ | Bohren & Der Club Of Gore | [Maximum Black](https://open.spotify.com/track/6RHJvMCoUgQ5CSBFUEL9RI)
+ | Bohren & Der Club Of Gore | [Vigilante Crusade](https://open.spotify.com/track/79YisR6Zg9qdJiRMmGikQB)
+ | Bohren & Der Club Of Gore | [Destroying Angels](https://open.spotify.com/track/5YQvY683Ptoz98wvYcT18Z)
+ | Bohren & Der Club Of Gore | [Grave Wisdom](https://open.spotify.com/track/51hwoQVaY2HVPZkvgndK5J)
+ | Bohren & Der Club Of Gore | [Constant Fear](https://open.spotify.com/track/3KJeOdlwj5W0c9XIrjqzY0)
+ | Bohren & Der Club Of Gore | [Skeletal Remains](https://open.spotify.com/track/6YRPCVWGgOCoQJXwcLN5ZF)
+ | Bohren & Der Club Of Gore | [The Art of Coffins](https://open.spotify.com/track/455JpjYNqs2ujamhjBXDFY)
+ | Jim Williams | [Introduction](https://open.spotify.com/track/1UQyukEDF4YIOcAK0p7j39)
+ | Jim Williams | [Reborn in the Mind of Another](https://open.spotify.com/track/5mt3j7zAtAlbcGw0TRigjE)
+ | Jim Williams | [A Psychic Poison](https://open.spotify.com/track/5CBftxMGrLCofFMPgAYPZz)
+ | Jim Williams | [Some Distant Coast](https://open.spotify.com/track/14uKCPDSaiP9q8DWYxDrk7)
+ | Jim Williams | [The Mind in It's Own Place](https://open.spotify.com/track/3YRs8oUREzzNwy7FqJpprs)
+ | Jim Williams | [Attracts Our Avarice](https://open.spotify.com/track/2ScSnQqQva3gNHbEIbIKTA)
+ | Jim Williams | [Prison in Your Mind](https://open.spotify.com/track/2u7jn5DdaOHbmzga6aWeoy)
+ | Jim Williams | [Skin After Successive Skin](https://open.spotify.com/track/13hpo9jOqvLU1Ymt26srbL)
+ | Jim Williams | [The Sin of Being Born](https://open.spotify.com/track/0slCcOVjxSTFKHuRAAPHTV)
+ | Jim Williams | [Shudder of His Awakening](https://open.spotify.com/track/5wdRHAXiXfYzTKWjMqxjAo)
+ | Jim Williams | [The Cry of a Mistaken Soul](https://open.spotify.com/track/4p3ElMxYHE0uZMv5KMKENP)
+ | Jim Williams | [The Owned Cannot](https://open.spotify.com/track/2XpeDNfs7MGhxhZguBXBib)
+ | Jim Williams | [Friction and Shallow](https://open.spotify.com/track/3u7Iub4dRsbpQLGVhJINLa)
+ | Jim Williams | [A Rustling in the Leaves](https://open.spotify.com/track/6NOrIgNPBYKznmX49yl77e)
+ | Jim Williams | [House as a Servant](https://open.spotify.com/track/0kUg2InLqIMZYK3s7ONSNl)
+ | Jim Williams | [A Change to Destroyer](https://open.spotify.com/track/4PRPpAhNy7dnKoB6R4bZGg)
+ | Jim Williams | [Power Dictates](https://open.spotify.com/track/1ApPHcwxKglF95oUg5HzEC)
+ | Jim Williams | [Symptoms of Disease](https://open.spotify.com/track/1erD6zHSV5Pll8LY3ZjPfh)
+ | Jim Williams | [Opposite Inaccessible Corner](https://open.spotify.com/track/3HsVDcg7y2YknmfpaFof0b)
+ | Jim Williams | [An Enslavement](https://open.spotify.com/track/3NsiHKY2wo6INPshD8XFY5)
+ | Jim Williams | [The Owned Cannot have a Soul](https://open.spotify.com/track/3UcvANfEm0cLHfg6MBBCcC)
+ | Jim Williams | [The Possessors are Possessed](https://open.spotify.com/track/64E3RrMWAKZIapIvU909PG)
+ | Jim Williams | [A False Reputation](https://open.spotify.com/track/69yxeOglmy5yJNgWe2NEIk)
+ | Jim Williams | [In It's Own Place](https://open.spotify.com/track/5krRrB6IqV7jKhBHFtj2jK)
+ | Jim Williams | [Serve Or Govern](https://open.spotify.com/track/0EElVGD1OCVLw89Bo9krlt)
+ | Jim Williams | [The Owned Cannot have a Soul of it’s Own](https://open.spotify.com/track/4gj3eOMBqcXx9xIsPz4Sr3)
+ | Jim Williams | [Possessor](https://open.spotify.com/track/1WndvIxLc9QVdU9dNvSlLk)
+ | Trent Reznor and Atticus Ross | [Hand Covers Bruise](https://open.spotify.com/track/1v0uVPU6BWcbog5BiWLWVa)
+ | Trent Reznor and Atticus Ross | [In Motion](https://open.spotify.com/track/50CgC2wKmbWm4WLQKY87oP)
+ | Trent Reznor and Atticus Ross | [A Familiar Taste](https://open.spotify.com/track/1TNFOXxCmzx57mxZfuPOAN)
+ | Trent Reznor and Atticus Ross | [It Catches up With You](https://open.spotify.com/track/2cryrajucGmbV6mwNUhQPB)
+ | Trent Reznor and Atticus Ross | [Intriguing Possibilities](https://open.spotify.com/track/5hQGVKSgTsh7qaReZzVgtq)
+ | Trent Reznor and Atticus Ross | [Painted Sun in Abstract](https://open.spotify.com/track/3s7IxbPCt3cVSiGhZ3HwvR)
+ | Trent Reznor and Atticus Ross | [3:14 Every Night](https://open.spotify.com/track/6mJ5uZ33r2y1TRrax79k5p)
+ | Trent Reznor and Atticus Ross | [Pieces Form the Whole](https://open.spotify.com/track/3PK7tZzJxuoJYoik7j3p1H)
+ | Trent Reznor and Atticus Ross | [Carbon Prevails](https://open.spotify.com/track/7pKo3vzmrlG2KcRVqzdoA5)
+ | Trent Reznor and Atticus Ross | [Eventually We Find Our Way](https://open.spotify.com/track/5i4q6tlmlRQHhgFIKWIfrm)
+ | Trent Reznor and Atticus Ross | [Penetration](https://open.spotify.com/track/0AJUX8BRUehB6RHPZUOoYS)
+ | Trent Reznor and Atticus Ross | [In the Hall of the Mountain King](https://open.spotify.com/track/0GO1QWs0YvDmmoTHUqitvf)
+ | Trent Reznor and Atticus Ross | [On We March](https://open.spotify.com/track/7pjelKVG4cgbS6mt0DaL60)
+ | Trent Reznor and Atticus Ross | [Magnetic](https://open.spotify.com/track/2RM11uElCksFYP5P6EArNC)
+ | Trent Reznor and Atticus Ross | [Almost Home](https://open.spotify.com/track/7b32aLn3gja5SECcWjD7Yz)
+ | Trent Reznor and Atticus Ross | [Hand Covers Bruise, Reprise](https://open.spotify.com/track/3ndsthfZGldH8L62kDOMlF)
+ | Trent Reznor and Atticus Ross | [Complication With Optimistic Outcome](https://open.spotify.com/track/2E4kEsRBvtWu8CazZ6qiQw)
+ | Trent Reznor and Atticus Ross | [The Gentle Hum of Anxiety](https://open.spotify.com/track/08JAdQ7sRbKRu1ccuhg5ZV)
+ | Trent Reznor and Atticus Ross | [Soft Trees Break the Fall](https://open.spotify.com/track/4R5yVjajdiX8m1EYhG0Yml)
+ | Joel Schoch | [Circling](https://open.spotify.com/track/2DwO4OlMqWvxZGv1zarisK)
+ | Joel Schoch | [Abandoned City](https://open.spotify.com/track/1QXw5kpi5VFza9rKZQ9ZPX)
+ | Joel Schoch | [Idas House](https://open.spotify.com/track/4Rd7jbr10O2hPJzFe4u7HP)
+ | Joel Schoch | [Hat On](https://open.spotify.com/track/58cs2ChOtT7p9pHReFn88Q)
+ | Joel Schoch | [Use the Wind](https://open.spotify.com/track/6rxC9KWFgkwVe6tRW2rysQ)
+ | Joel Schoch | [Try the Perfect Sail](https://open.spotify.com/track/1Gc4VyrRflZiohBpmHwABZ)
+ | Joel Schoch | [Travel](https://open.spotify.com/track/4KGIt3VOrlg7avVCszvRYq)
+ | Joel Schoch | [Tsunami](https://open.spotify.com/track/5S1octrE8PWwRSWTJRwbLj)
+ | Joel Schoch | [Survived](https://open.spotify.com/track/3tmTiXNp4ndjWeSvEjYAVC)
+ | Joel Schoch | [Dockyard Tale](https://open.spotify.com/track/1wkpEXg77cw45hKAkPahEi)
+ | Joel Schoch | [Rough Sea](https://open.spotify.com/track/1jyyeqJsUb8MuGoZBSLNFw)
+ | Joel Schoch | [Totem](https://open.spotify.com/track/49Rl4dJbjsoNcnh6S8Q0QT)
+ | Joel Schoch | [First Dive](https://open.spotify.com/track/5W14BXvzOAm6rT8SgQ3SSY)
+ | Joel Schoch | [Tunnel](https://open.spotify.com/track/7tN3Pi0Lw45fOB5Fi5B6kk)
+ | Joel Schoch | [University](https://open.spotify.com/track/6mFO88T3C612TT6ZKDUQRA)
+ | Joel Schoch | [Seagate](https://open.spotify.com/track/7rbge4le51cu5PWdcDHrUJ)
+ | Joel Schoch | [Boost](https://open.spotify.com/track/2nq9mJi6qKOfCgAQjDbuVQ)
+ | Joel Schoch | [Open Sea](https://open.spotify.com/track/1ljw1WLHpT6uNO8ZMvoKzC)
+ | Joel Schoch | [Trench Down](https://open.spotify.com/track/3ThflpGlIyjLlGVxm9IZWn)
+ | Joel Schoch | [Sunken City](https://open.spotify.com/track/12KUfAzS3wGnIDQzMqJa4H)
+ | Joel Schoch | [Rise](https://open.spotify.com/track/7p1Cu60uC0kDiMPwLRwkIt)
+ | Joel Schoch | [A New Dusk](https://open.spotify.com/track/396coQOC5JaHoprde5XK1q)
+ | Joel Schoch | [Uncertain](https://open.spotify.com/track/4ZcvVFHiDM7UYFAua6Nqqd)
+ | Joel Schoch | [Seismo](https://open.spotify.com/track/7IrJheDchP4uStbYoW0PCi)
+ | Joel Schoch | [Cramping](https://open.spotify.com/track/13ziS9xD9TsX4uJkgkjPFM)
+ | Joel Schoch | [Ship Graveyard](https://open.spotify.com/track/6bfOj84o9HbadY0VYswyNh)
+ | Joel Schoch | [Frozen Cave](https://open.spotify.com/track/7kXhztP8C4WzsvlP6ZACGl)
+ | Joel Schoch | [Charge Air](https://open.spotify.com/track/2SzshcMUAuhhwfsS8sIQ9b)
+ | Joel Schoch | [Waterfall](https://open.spotify.com/track/2UofkPRembCPdCSO8Z7FSd)
+ | Joel Schoch | [Round](https://open.spotify.com/track/452oTSL8zMcbT1jJBTd2oU)
+ | Joel Schoch | [Turn](https://open.spotify.com/track/6hb6ZMJblsHmOUUbqa0kzh)
+ | Joel Schoch | [Alone](https://open.spotify.com/track/0Yf1FglIGIG6y9pNcWGK9e)
+ | Joel Schoch | [Rise - Piano](https://open.spotify.com/track/32X1DAw0m6bS9z0WUL2ubt)
+ | Joel Schoch | [Open](https://open.spotify.com/track/7qRmKnR9hbgsBg8b60BHbk)
+ | Joel Schoch | [Colored Engine](https://open.spotify.com/track/2U832A0zdb8OABhBmFjlWS)
+ | Joel Schoch | [Sail, My Friend!](https://open.spotify.com/track/2OqDNKzLJXJ4VGiAgJGhed)
+ | Joel Schoch | [Lights On](https://open.spotify.com/track/13MQubq9XEcykI1vzjZYEy)
+ | Joel Schoch | [Bridge](https://open.spotify.com/track/5rgCRHZm8j51DMJajtr4CY)
+ | Joel Schoch | [Rain. Storm. Thunder.](https://open.spotify.com/track/06jZsLwA0DQn6ANUaerpbU)
+ | Joel Schoch | [Night](https://open.spotify.com/track/68MIrPRlJ7DPiu9lh7ifBO)
+ | Joel Schoch | [First Glimpse](https://open.spotify.com/track/7oItNmbj04I0g87oSq0Wb0)
+ | Joel Schoch | [More To See](https://open.spotify.com/track/0V5l5n3U1yw5aRJjx9xz5T)
+ | Joel Schoch | [Not Alone](https://open.spotify.com/track/4SMeggwUvkrYGZgICGk5JA)
+ | Joel Schoch | [Inconvenient Circumstances](https://open.spotify.com/track/5h3qaQCqMj7iUxmwtKlh12)
+ | Joel Schoch | [Sun. Down.](https://open.spotify.com/track/73S32Q2rQpYuJwMy67LZSK)
+ | Joel Schoch | [Swamptown](https://open.spotify.com/track/2CzIp8DpuWzxiDH3Q4TXfN)
+ | Joel Schoch | [Abandoned Construction Site](https://open.spotify.com/track/5yOkymqJNR3ilQYDSrtoqx)
+ | Joel Schoch | [Explore It!](https://open.spotify.com/track/5h2Y97usfZfjlhZXo7lVU7)
+ | Joel Schoch | [Drive It!](https://open.spotify.com/track/0kKKNguEOEOfYC3xecdaBf)
+ | Joel Schoch | [Still Driving](https://open.spotify.com/track/5spCeyBvhvZL1ne5oAvtS3)
+ | Joel Schoch | [Canyon](https://open.spotify.com/track/3Tuo8OKvCKXnfmbcPfAJ3l)
+ | Joel Schoch | [Warmth In The Cold](https://open.spotify.com/track/65u9GK8FvEewxjVtHeS3PE)
+ | Joel Schoch | [Disorientated](https://open.spotify.com/track/5CnJWLy2XqLk9L07uj2PmT)
+ | Joel Schoch | [Half](https://open.spotify.com/track/3ymz16oDvYHxghniCA5S0l)
+ | Joel Schoch | [Lone Sails](https://open.spotify.com/track/4Bcyn3j8hmvhrWSPeoghYj)
diff --git a/content/extras/music/selected-letters.md b/content/extras/music/selected-letters.md
new file mode 100644
index 0000000..4778c70
--- /dev/null
+++ b/content/extras/music/selected-letters.md
@@ -0,0 +1,37 @@
+---
+title: '"Selected Letters" playlist'
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | The Mars Volta | [L'Via L'Viaquez](https://open.spotify.com/track/1LuPrOdGp4NSWVsJ2sPJOx)
+ | The Mars Volta | [Cygnus...Vismund Cygnus](https://open.spotify.com/track/2mmygsZnoEzJHXzEMgLd76)
+ | The Mars Volta | [Televators](https://open.spotify.com/track/23qnota5Iyg4f9LNdNIC1D)
+ | The Mars Volta | [Take The Veil Cerpin Taxt](https://open.spotify.com/track/76hTx8SeM6aGvDBSwcKAxX)
+ | tricot | [POOL](https://open.spotify.com/track/6qL7sccU4FQS6zUgKCzNu6)
+ | toe | [孤独の発明](https://open.spotify.com/track/2RJuCZXtZYubzTW78kmaBx)
+ | LITE | [Echolocation](https://open.spotify.com/track/51Vs7KeraqZwfR5OQLuaeI)
+ | Don Caballero | [Fire Back About Your New Baby's Sex](https://open.spotify.com/track/01VhYbUIdJABCY4Ceupxbn)
+ | Don Caballero | [I Never Liked You](https://open.spotify.com/track/4hNDjZgETQs9rgt1gGSrTe)
+ | Don Caballero | [A Lot of People Tell Me I Have a Fake British Accent](https://open.spotify.com/track/0VRYOFM08tk2wGhHWKGgnx)
+ | American Football | [Never Meant](https://open.spotify.com/track/4ZDyo32Vg4avIKHaDfZSOg)
diff --git a/content/extras/music/toledot.md b/content/extras/music/toledot.md
new file mode 100644
index 0000000..b38ba47
--- /dev/null
+++ b/content/extras/music/toledot.md
@@ -0,0 +1,52 @@
+---
+title: Toledot playlist
+---
+
+
+
+Cover | Artist | Song
+---|---|---
+ | John Adams, Edo de Waart, San Francisco Symphony, Vance George, San Francisco Symphony Chorus | [Harmonium (for large orchestra and chorus): Part 1 - Negative Love](https://open.spotify.com/track/7dzOAMFmsoh6RUoEVFjB3D)
+ | John Adams, Edo de Waart, San Francisco Symphony, Vance George, San Francisco Symphony Chorus | [Harmonium (for large orchestra and chorus): Part 2 - Because I Could Not Stop For Death - Wild Nights](https://open.spotify.com/track/1iuL1YdJjxgh8QaP0uiSF9)
+ | John Adams, Sir Simon Rattle, City Of Birmingham Symphony Orchestra | [Adams: Harmonielehre: I. (without title)](https://open.spotify.com/track/7kJc6hdQ79uouOAtrLQ7sP)
+ | John Adams, Sir Simon Rattle, City Of Birmingham Symphony Orchestra | [Adams: Harmonielehre: II. The Anfortas Wound](https://open.spotify.com/track/2eMJycx5zTjjLLlT4BuGu2)
+ | John Adams, Sir Simon Rattle, City Of Birmingham Symphony Orchestra | [Adams: Harmonielehre: III. Meister Eckhardt and Quackie](https://open.spotify.com/track/4XnXmrafs24PyqTrkLSK2M)
+ | John Adams, Sir Simon Rattle, City Of Birmingham Symphony Orchestra | [Adams: The Chairman Dances (Foxtrot for Orchestra)](https://open.spotify.com/track/0AR6xpBb04j3hNMAD1iImJ)
+ | John Adams, Sir Simon Rattle, Wesley Warren, Jonathan Holland, City Of Birmingham Symphony Orchestra | [Adams: Two Fanfares for Orchestra: I. Tromba Lontana](https://open.spotify.com/track/6TzJ39DGy54ZdNOj7k9q7g)
+ | John Adams, Orchestra of St. Luke's | [Adams: Fearful Symmetries](https://open.spotify.com/track/3LzOote7hVyDzoBM51DUOn)
+ | Alfred Schnittke, Elena Dof-Donskaya, Valery Polyansky, USSR Ministry of Culture Chamber Choir | [Concerto for Choir: II. I, an Expert in Human Passions, Composed this Collection of Songs, Where Every Verse is Full to the Brim with Blasck Sorrow](https://open.spotify.com/track/4DEHRfw9u44yQfnjZ43Vn1)
+ | Alexey Fyodorovich Lvov, Novospassky Monastery Choir, Igumen Mitrofan | [Meeting and vesting of Bishop: Cherubic Hymn](https://open.spotify.com/track/0BFin5lbxIgQ8sWTxt5T9O)
+ | Henryk Górecki, John Nelson | [Euntes Ibant Et Flebant, Opus 32](https://open.spotify.com/track/7pJRYupSjX81NzvOYnh1aB)
+ | Henryk Górecki, Dawn Upshaw, London Sinfonietta, David Zinman | [Symphony No. 3, Op. 36: I. Lento - Sostenuto Tranquillo Ma Cantabile](https://open.spotify.com/track/7Mx00Ye1ypcK1hToeKyrVl)
+ | Homin Lviv Municipal Choir | [Vichnaya Pamyat](https://open.spotify.com/track/5NU8pIT0Yp8wgaUiHZM90w)
+ | Morten Lauridsen, Non Silentium | [Introitus](https://open.spotify.com/track/51aJs8wDg8LmPikmkZLFvB)
+ | Morten Lauridsen, Non Silentium | [In Te Domine Speravi](https://open.spotify.com/track/0904GPDnFYuEiXjatHxRSF)
+ | Morten Lauridsen, Non Silentium | [O Nata Lux](https://open.spotify.com/track/60SAtEYfsyFsDLTrpbCif1)
+ | Morten Lauridsen, Non Silentium | [Veni Sancte Spiritus](https://open.spotify.com/track/6ICDhwt9KlTfVIwUPHUYEh)
+ | Morten Lauridsen, Non Silentium | [Agnus Dei - Lux Aeterna](https://open.spotify.com/track/2JHt39JG6iSrUXPepx9zk3)
+ | The Singers - Minnesota Choral Artists | [Mid-Winter Songs: I. Lament For Pasiphaë](https://open.spotify.com/track/7HMMOkSubtQHO2i3lLqW9n)
+ | The Singers - Minnesota Choral Artists | [Mid-Winter Songs: II. Like Snow](https://open.spotify.com/track/4zWeAcVQ2uixSWeTElUCgz)
+ | The Singers - Minnesota Choral Artists | [Mid-Winter Songs: III. She Tells Her Love While Half Asleep](https://open.spotify.com/track/11eHlOh1uLlwu3Wdc3f7zy)
+ | The Singers - Minnesota Choral Artists | [Mid-Winter Songs: IV. Mid-Winter Waking](https://open.spotify.com/track/5gxVY94QEgBy1MJJSnf8k0)
+ | The Singers - Minnesota Choral Artists | [Mid-Winter Songs: V. Intercession In Late October](https://open.spotify.com/track/7docyBJ5ERdaZowXEMmvCk)
+ | Jessica Curry | [The Sleep of Death](https://open.spotify.com/track/4gNqDcPa1e4kWua7wMBklH)
+ | Jessica Curry | [For Ever](https://open.spotify.com/track/2pMP7DH9KlOFauR9F1mh9l)
+ | The Newton Brothers | [Nearer My God To Thee](https://open.spotify.com/track/7teVogYyH0Wb7dqALqplzf)
diff --git a/content/extras/nanon/_index.md b/content/extras/nanon/_index.md
new file mode 100644
index 0000000..34c9f5f
--- /dev/null
+++ b/content/extras/nanon/_index.md
@@ -0,0 +1,11 @@
+---
+title: Nanon
+layout: single
+---
+
+Nanon is the common language spoken by the four races aboard Artemis. Originally secondrace's language, it has become the *lingua franca* amongst all Artemisians — and, after convergence, all humans who joined Artemis in its ongoing journey. It is an artificial language originally created in 2002 by Madison Scott-Clary as a way to alleviate the boredom of a Latin class. For a while, all digital copies were lost, with one [hard copy and notes](http://nanon.lang.drab-makyo.com/old/Nanon.pdf) remaining in a binder on her bookshelf. Now, sixteen years later, the docs have been scanned and the language is being typed up again. Due to being younger and dumber, the tone and quality is...not great, but the information is provided nearly in full to anyone interested.
+
+* [Phonology](phonology)
+* [Syntax](syntax)
+* [Vocabulary](vocabulary)
+* [Examples](examples)
diff --git a/content/extras/nanon/examples.md b/content/extras/nanon/examples.md
new file mode 100644
index 0000000..1350ee5
--- /dev/null
+++ b/content/extras/nanon/examples.md
@@ -0,0 +1,20 @@
+---
+title: Examples
+---
+
+## Babel text
+
+1. Enzen mununier houka dehoudev an nanonam ate nanoni esles de t'n.
+2. Jaranuvier esdedev henunam up Shinar ate sunahier esles bronumam.
+3. Nanonier esles tho eslas, "Za tapotier esles anem estafataram." Unzen mununier eslas estafataram ate suroevier eslas estafataram de t'n tho suroevla rutar.
+4. Nanonier eslas, "Za tapotier esles bresdulam ate håzh brodåtam lubåtla hanaozhi raealam; ate za tapotier esles håt tapotevam eslesen aet nu eslesi esfetåtev nutho lubåt."
+5. Atoe zen båti Raedev ate jaruvier achlas bresdulam ate habrodåtam estdedeven.
+6. Zen nanoni anaodehoudev, "Jaruvia, eslasi an dehoudev ate mununier esles an nanonam; at tapotier esdedev lasam, za tapotier esdedev houal."
+
+## 1 Corinthians 13
+
+4. Loråtla fetach. Anåt fetach. Nu kufemotla fetach. Nu haleputatla fetach. Nu haledatåtla fetach.
+5. Nu halesupotla fetach. Nu tuvårier fetach lubåtam t'ner. Nu kufori set fetach. Nu mununier fetach esunotalam.
+6. Nu jaruvåtier fetach unotalam - Ato harahier t'n houka anåtalam.
+7. Mununier fetach houkalam, konemier t'n houkalam, horanemier t'n houkalam, hatarier t'n houkalam.
+8. Nuka jodoti fetach...
diff --git a/content/extras/nanon/phonology.md b/content/extras/nanon/phonology.md
new file mode 100644
index 0000000..685caef
--- /dev/null
+++ b/content/extras/nanon/phonology.md
@@ -0,0 +1,37 @@
+---
+title: Phonology
+---
+
+## Consonants and semivowels
+
+ | Stop (v/u) | Fricative (v/u) | Sibilants (v/u) | Nasals | Semivowels
+---|---|---|---|---|---
+Glottal | -/x | -/h | - | - | -
+Velar | g/k | - | - | - | -
+Palatal | dzh/tsh | -/ch* | zh/sh | - | -
+Dental | d/t | -/th | z/s | n | l
+Labial | b/p | v/f | - | m | w
+{: style="text-align: center" }
+
+## Vowels
+
+* a - father
+* å - bought
+* e - bet
+* i - beet
+* o - alone
+* u - moot
+* ' - uh*
+
+## Diphthongs
+
+* ae - bite
+* ei - bait
+* ou - own
+* ao - brown
+
+All other vowel combinations either aspirate the second vowel or separate with a glottal stop.
+
+## Accentuation
+
+Meaning does not vary by accentuation, but usually falls on the penultimate syllable.
diff --git a/content/extras/nanon/syntax.md b/content/extras/nanon/syntax.md
new file mode 100644
index 0000000..0082ecd
--- /dev/null
+++ b/content/extras/nanon/syntax.md
@@ -0,0 +1,230 @@
+---
+title: Syntax
+---
+
+Throughout this section, the various parts of the grammar of Nanon would be described, along with small examples. The examples will talk about you, your dog, a friend named Joseph, and his dog. Not a terribly interesting storyline, but hopefully it'll explain the subjects of the section. This section assumes you've at least glanced at the [Morphology](/morphology) section.
+
+## Simple phrases
+
+Being an inflecting language, Nanon has a fairly free word order, but phrases tend to go VSO - verb, subject, object. You can tell what's going on, who's doing it, and, if needed, who it's being done to. That's just putting it roughly, of course, but we're still in the simple phrases section, so we won't get into stuff like doing something with someone else to someone and their dog quite yet.
+
+### The simplest example
+
+The most basic example is a statement containing just a verb and a subject in the present tense.
+
+> Mabåti les.
+
+You've already seen *mabåt*, which means walk. We know that the *-i* suffix turns it into the verb 'to walk'. *Les* is the personal pronoun of rht efirst person 'I'. This simple example means "I walk."
+
+### Adding an object
+
+It'd be nigh impossible to talk in sentences like that, though; we need objects. If we're going to have objects, though, we're going to need to make the verb transitive. Keeping with the theme of you and your dog, we'll make the dog the object, since that's usually what a person walks:
+
+> Mabåtier les henånam.
+
+We have our *les* and our *mabåti*, but with the addition of *-er*, the transitive suffix. The word for dog is henån, but the one in this example has the suffix *-am*. This is the accusative suffix, which makes the word the direct object of the verb. So our sentence means "I walk the dog". *N.B: Nanon does not, as yet, differentiate between definite and indefinite verbs - there is no way to say 'the dog' vs 'a dog'.*
+
+### Showing possession
+
+"I thought we were talking about my dog..." Well, for that, we have to learn a new case. A case is a variation on the root word. Nanon has three cases: nominative (the root word by itself - "the/a \_\_\_"), the accusative (the root word plus *-am* - the object of the verb), and the new one: genitive (the root word plus *-en* - "of (the/a) \_\_\_"). So if we want to talk about our dog, we'll add a genitive form of "I" to make it "my":
+
+> Mabåtier les henånam lesen.
+
+Notice how the *lesen* follows the *henånam*; we wouldn't want to say "I of me walk the dog". This is one of the few places where word order matters in Nanon. Thus, "I walk the dog of me".
+
+## Joining phrases
+
+There are a few ways to join phrases in Nanon: you can uses the standard conjunctions, or the list modifiers. Standard conjunctions are almost completely like English, with the conjunction separating the two nouns (they still have some differences, as we'll see). List modifiers are the first modifiers you'll learn to use; they join (usually) three or more nouns together into an and-list, an or-list, a xor-list, or a negative-or-list.
+
+### Standard conjunctions
+
+The standard conjunctions were cribbed mostly from Latin. Because of their origin, these conjunctions are fairly similar to those of English except for one or two differences: a few of the conjunctions use the word twice, and one of the conjunctions doesn't exist in English as one word (it does, however, exist in most computer languages).
+
+The first conjunction we'll use will be *ate*, which means "and".
+
+> Mabåti les ate henån lesen.
+
+We've got the standard lineup: you and your dog. This time, however, you're not walking your dog, you're walking with it, so the verb isn't transitive. This one's fairly easy: "My dog and I walk".
+
+What if you're not walking your dog, though? What if your friend Joseph is? Or both of you together?
+
+> Mabåtier les ite Josef henånam lesen.
+
+Now that the dog is back to being walked, we're back to transitive, and we need to see who's walking it: you or Joseph (spelled 'Josef' in Nanon). *Ite* is slightly different than in English, in that it's intrinsically inclusive. That is, if something is or'd in Nanon, it means that one, the other, or both together may be doing the action. Exclosive or, or xor, doesn't have a direct counterpart in English, but the closest example is "either X or &, but not both". In computers or logic, this is represented as `(X xor Y)`. In Nanon, it's represented as *ete X ete Y* - there are two *ete* because that was one of the parts copied from Latin.
+
+Now let's change the previous example and say you don't want to go walking with Joseph, but you'll let him walk your dog:
+
+> Mabåtier ete les ete Josef henånam lesen.
+
+There: "Either Joseph or I (but not both together) walk my dog". To negate this, you can use the negative form *nete* for "neither X nor Y":
+
+> Mabåtier nete les nete Josef henånam lesen.
+
+### List modifiers
+
+List modifiers connect a series of words, phrases, or sentences (depending on the global affix) by surrounding them like parentheses. Depending on the modifiers, there is one for each conjunction, the words are connected in different ways: words connected with the 'and' modifier *atek...atet* act like a string of words connected by 'and'. and likewise for the rest of the modifiers: *itek...itet* for 'or', *etek...etet* for 'xor', and *netek...netet* for 'neither/nor'.
+
+List modifiers are the standard conjunctions with *-k* appended to the opening modifier and *-t* appended to the closing one. Keeping with our walks, let's all go for one:
+
+> Mabåti atek les, Josef, henån lesen atet.
+
+By surrounding the list with the 'and' modifier, we connected all of the words with 'and', leaving us with "Me and Joseph and my dog walk". This example includes commas, like in English. We can make it a riddle as to who's walking by switching to 'or', which specifies that any combination of the subjects walks:
+
+> Mabåti itek les, Josef, henån lesen, henån Josefen itet.
+
+We've added Joseph's dog to the mix: "I, Joseph, my dog, or Joseph's dog (or any combination thereof) walk".
+
+## Compound phrases
+
+Conjoining phrases works very similarly to conjoining nouns, but uses a prefix to modify the conjunctions such that they apply to phrases.
+
+### Conjoining phrases
+
+> Nanoni les inate mabåti Josef.
+
+It makes sense that if *Nanon* is a noun, and a Nanon word itself, it can also be a verb. In this case, it means 'to speak'. Here, we've used the prefix *in-* to cause the conjunction to apply on a phrase scope. In slangy speech, this can be dropped, as it's often evident from context. Here, we have "I talk and Joseph walks".
+
+Let's add a conjunction: *ato*. It looks a lot like *ate* and works rather like 'and', however, it expects a truth statement following it. In English, it's called 'but' (*ete* can similarly be changed to *eto*, which means 'except'):
+
+> Nanoni les inate mabåti Josef ato roevi avles.
+
+In the above example, we use the prefix *av-* (from *av* - 'two') to indicate a dual state - thus, when combined with *les*, we get *we both*. (On that note, the plural prefix, *es-* comes from *es* - 'three', which simply indicates a plurality). Therefore, *avles* means 'we both'. *Roevi* (from *roev* - 'tree') means 'grow', so here we have the rather saccharine "I speak and Joseph walks but we both grow".
+
+### Lists of phrases
+
+It follows that we can apply this to list modifiers as well. These, however, do require the phrase scope prefix *in-*.
+
+> Inatek nanoni les, mabåti Josef, henåni henan Josefen inatet.
+
+The verb form of dog is 'to wag', so that makes our sentence "I talk, Joseph walks, and Joseph's dog wags."
+
+## Questions
+
+We have Yet Another Affix to deal with, which creates a question. This addition, however, is an infix which only occurs in six words: *bronum* - 'place, location', *loran* - 'time', *lubåt* - 'reason', *dedev* - 'person', *uchlas* - 'it, thing' (neuter 3rd person pronoun), and *båt* - 'way'. The affix by itself is also a modifier that makes the sentence into a yes or no question, or implies a 'whether'. If the words for 'yes' and 'no' are *ka* and *nu* respectively, that is the expected answer.
+
+### The five W's and the H
+
+The affix/word in question is *aen*. It is how questions are made in Nanon. When combined with certain words, it forms the questions *bronaenum* 'where', *loraenan* - 'when', *lubaenåt* - 'why', *dedaenev* - 'who', *uchlaenas* - 'what, which', and *baenåt* - 'how'.
+
+> Dedaenev mabåti?
+
+"Who walks?"
+
+> Bronaenum mabåti los?
+
+"Where are you walking?" - *los* being the 2nd person pronoun.
+
+> Loraenam za mabåti los?
+
+"When will you walk?" - *za* will be covered in tenses.
+
+> She uchlaenas uchlas mabåti los?
+
+"Towards what thing are you walking?" - *she* being 'towards'.
+
+> Lubaenåt mabåti los?
+
+"Why are you walking?" Really, why are any of us walking?
+
+> Baenåt mabåti les?
+
+"How do I walk?"
+
+### Yes and no
+
+Placing the question modifier before the word that's being questioned (word order important) asks a yes or no question. If you are expecting a a certain response, add that response to the end of the question.
+
+> Aen mabåti los?
+
+"Do you walk?"
+
+> Aen mabåti los, ka?
+
+"You do walk, don't you?"
+
+> Aen za bromuni los, nu?
+
+"You won't go, will you?"
+
+## Tense
+
+This section assumes that you've read the section on modifiers in [morphology](/morphology) first, to get a taste of tense modifiers.
+
+As you know, our tense words are *ze* for past, *zo* for present (though it's usually implied) and *za* for future. You should know also that the suffix *-n* makes the tense perfect, or completed. These words, like most modifiers, default to modifying theverb that they come before, but can modify a phrase or entire sentence with the appropriate prefix. This makes it quite easy to mix tenses within a sentence.
+
+> Za jaruvier los Josefam ze lasi januruvam.
+
+"You will see that joseph was a spy". *Jaruvier* is the transitive verb form of 'see' put into the future tense by *za*. *Ze* puts *lasi* (the verb form of the pronouns becomes the verb 'to be', thus *lasi* - 'they are') in the past tense, so Joseph (who is in the accusative case for *jaruvier*) was in the past a spy, or *januruv*. Joseph and *januruv* are both in the accusative, though, so how do we know which is the object of *lasi*? The answer is that it doesn't matter, because 'to be' in Nanon is like an equal sign: it makes both nouns the same.
+
+Why isn't *za* in its phrase form, *inza*? Because *jaruvier* is transitive, and it still requires its object to be a full phrase. The truth is, you can often use the unmodified version of the modifier in place of the phrase or sentence version, and still have it make sense:
+
+> Ze mabåti les she esroevam, ato inza majarbåti les she estanunam.
+
+Which means "I was walking to the treas, but I will run to the mountains". *Majarbåt* is 'to walk' plus the 'fast' descriptor infixed to make 'to run'. a *tanun* is a mountain, which is plural with the prefix *es-*. The same sentence with the phrase-modified tenses, however, would mean the same thing:
+
+> Inze mabåti les she esroevam, ato inza majarbåti les she estanunam.
+
+## Numbers
+
+Nanon counts in base-10, so the numbers are similar, but they're strung together in an almost Mandarin fashion: the numbers count up to ten, then it's ten plus a number, then for twenty, it's two tens, three tens for thirty, and so on.
+
+0. *'s*
+1. *an*
+2. *av*
+3. *es*
+4. *er*
+5. *et*
+6. *on*
+7. *ov*
+8. *or*
+9. *ur*
+10. *ans*
+11. *ansan*
+12. *ansav*
+{: start="0" }
+
+And so on, until 20, which is *avans*, 30 - *esans*, and so on. Here are some random numbers:
+
+* *mans* - 100
+* *ant* - 1,000
+* *nant* - 10,000
+* *mansant* - 100,000
+* *anc* - 1,000,000
+* *avans es* - 23
+* *erans av* - 24
+* *ant ermans urans av* - 1,492
+* *ant ovmans ovans av* - 1,776
+* *anc avmansant esnans erant etmans onans ov* - 1,234,567
+
+*Mans* is different, because otherwise, following the pattern, *onnans* and *onans* would sound alike.
+
+These numbers, by themselves, act as descriptors. If you want to talk about the number two, or number two in a set, precede the number with the word 'number', *sanav*. To say cardinal numbers, put the number in its verb form, as in *Ani Eskorinthev Anses* - First Corinthians 13 (see examples). Also, note the *-ev* suffix on Corinth: this comes from *dedev*, which means person. The *-ev* suffix, therefor, means a person of the noun it modifies, so *-ev* on Corinth means a Corinthian.
+
+### Math
+
+Addition - "Number with number is number"
+: *an tho an lasi av*: 1 + 1 = 2
+
+Subtraction - "Number without number is number"
+: *av nutho an lasi an*: 2 - 1 = 1
+
+Multiplication - "Number by/against number is number"
+: *av lar an lasi av*: 2 * 1 = 2
+
+Division - "Number except number is number"
+: *er eto av lasi av*: 4 / 2 = 2
+
+Exponents - "Number by/against again is number"
+: *av lar'che av lasi er*: 2 ^ 2 = 4
+
+Logarithms - "Number by/against an anonymous thing is number"
+: *ans lar'che t'n mans lasi av*: Log10 100 = 2
+
+Roots - "Number except again root is number"
+: *er eto'che av lasi av*: sqrt(4) = 2
+
+## A note
+
+> Something must be said about the semantics of Nanon, as words separated by one letter become different parts of speech, and mean different things. Nouns and their verb components should not always be taken as near synonyms, even though this may sometimes be the case. For example, a word that means a driver of an automobile does not automatically mean 'to drive an automobile' in it's verb form. It might be best to learn the noun and verb form separately and not think of the -i as an affix, then realize later that there is a connection between the two words.
+>
+> Also, care must be taken to enunciate certain words carefully, as they may differ by just a vowel. The biggest problem, perhaps, would be the gender prefixes ach- and ech-
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+---
+type: page
+title: Vocabulary
+---
+
+
+
+
+
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+
Entry
+
Role
+
Meaning
+
+
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+
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+
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+---
+title: Summaries of larger works
+---
+
+## The Post-Self Cycle
+
+The Post-Self Cycle were the four original large works that spawned the Post-Self setting in general.
+
+### Qoheleth (2019)
+
+> *“All artists search. I search for stories, in this post-self age. What happens when you can no longer call yourself an individual, when you have split your sense of self among several instances? How do you react? Do you withdraw into yourself, become a hermit? Do you expand until you lose all sense of identity? Do you fragment? Do you go about it deliberately, or do you let nature and chance take their course?”*
+
+With immersive technology at its peak, it’s all too easy to get lost. When RJ loses emself in that virtual world, not only must ey find eir way out, but find all the answers ey can along the way.
+
+And, nearly a century on, society still struggles with the ramifications of those answers.
+
+Features the bonus novella *Gallery Exhibition: A Love Story.*
+
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Qoheleth/synopsis)**
+
+### Toledot (2022)
+
+> "I am saying that you trust me — really trust me — and that life in the System is more subtle than I think you know. You let me into your dreams, my dear, and your dreams influence this place as much as, if not more than, your waking mind."
+
+No longer bound to the physical, what lengths should one go to in a virtual world to ensure the continuity of one’s existence?
+
+Secession. Launch. Two separations from two societies, two hundred years apart. And through it all, so many parallels run on so many levels that it can be dizzying just keeping up. The more Ioan and Codrin Bălan learn, the more it calls into question the motivations of even those they hold most dear.
+
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Toledot/synopsis)**
+
+### Nevi'im (2022)
+
+> “Do you know how old I am, Dr. Brahe? I am 222 years old, a fork of an individual who is…who would be 259 years old. I am no longer the True Name of 2124. Even remembering her feels like remembering an old friend. I remember her perfectly, and yet I do not remember how to be earnest. I do not know how to simply be."
+
+The cracks are showing.
+
+Someone picked up on the broadcast from the Dreamer Module and as the powers that be rush to organize a meeting between races, Dr. Tycho Brahe is caught up in a whirlwind of activity. And as always, when the drama goes down, there is Codrin Bălan to witness it.
+
+When faced with eternity in a new kind of digital world, however, old traumas come to roost, and those who were once powerful are brought to their knees
+
+Growth is colliding with memory, and the cracks are showing.
+
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Nevi'im/synopsis)**
+
+### Mitzvot (2023)
+
+> “To be built to love is to be built to dissolve. It is to be built to unbecome. It is to have the sole purpose of falling apart all in the name of someone else."
+
+Even the grandest of stories can feel small and immediate when it’s just one person’s life.
+
+One of the most well-known names from one of the most well-known clades on the System, the avatar of political machinations and cool confidence, has been brought low. With help coming only from Ioan Bălan and the most grudging of support from her cocladists, all True Name has left to save herself is the ability to change.
+
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Mitzvot/synopsis)**
+
+## Other works
+
+### Motes Played (2024)
+
+Motes played.
+
+She played because she was play. She played because that was her role in life, because that is just who she was. She played with color, played with life, played with death.
+
+She played with fire.
+
+Motes played, because how could she not?
+
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Motes_Played/synopsis)**
+
+
+### Marsh (2024)
+
+> “I am seeing quiet chaos. I am seeing most of my sims emptying out. The ones that are not empty, however, remain dreadfully quiet. Most of those who are out and about have set up over themselves cones of silence. Those who have not, though, are decidedly not quiet. More than one silence has been broken by weeping and wailing.”
+
+New Year's Eve, 2399, and Lagrange is celebrating almost three centuries of relative peace. Yes, there have been surprises, there has been drama and political intrigue, but life has, by and large, been quite good for those who have chosen to upload their consciousnesses. The celebrate birthdays and anniversaries. They fall in and out of love. They fork, creating copies of themselves to accomplish tasks or live out their own independent lives. Their memories build up and up forever within them.
+
+2.3 trillion souls gather in quiet homes, in bars and restaurants, in parks and along prosaic main streets, and count down seconds to the new century.
+
+And then, without warning, everything comes grinding to a halt. The internal clock of the System hits one second before midnight, December 31, 2399, and then it hits midnight, February 11, 2401. One year, one month, and eleven days have gone missing.
+
+And so has one percent of the population of Lagrange. 23 billion souls lost.
+
+Reed and the rest of his cocladists, fellow instances forked from the original uploaded mind of Marsh, to discover what has happened and where Marsh has gone, rendering them unmoored, five unconnected instances with no root to connect them.
+
+What happened, and why is Earth being so cagey?
+
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Marsh/synopsis)**
diff --git a/content/gallery.md b/content/gallery.md
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-Over the course of publication and as funded by the backers of the *Mitzvot* Kickstarter, much in the way of art surrounding the Post-Self universe and its character has accrued.
+Over the course of publication and as funded by the backers of the *Mitzvot* Kickstarter, much in the way of art surrounding the Post-Self universe and its character has accrued. Special thanks is due to [Iris Jay](https://irisjay.net) who drew the first bit of Post-Self art all the way back in 2017, and then all of the covers and some of the interior art of the Post-Self cycle. Thanks as well to [Jade](https://linktr.ee/cupsofjade), who provided the template upon which so many of the Odists are based.
## *Qoheleth and Gallery Exhibition*
-
- Art by Iris Jay
+
+ Art by Iris Jay
-
- Art by Cadmium Tea
+
+ Art by Julian Norwood
-
- Art by Cadmium Tea
+
+ Art by Julian Norwood
-
- Art by johnny d.
+
+ Art by johnny d.
-
- Art by Iris Jay
+
+ Art by Iris Jay
## *Toledot*
-
- Art by Iris Jay
+
+ Art by Iris Jay
-
+ Art by Kris Weaver
-
- Art by JAIYANDT
+
+ Art by Jade
-
+ Art by Kris Weaver
-
- Art by Iris Jay
+
+ Art by Iris Jay
+
+
+
+ Fan art by Nat
## *Nevi'im*
-
- Art by Iris Jay
+
+ Art by Iris Jay
-
- Art by johnny d.
+
+ Art by johnny d.
-
- Art by JAIYANDT
+
+ Art by Jade
-
- Art by Iris Jay
+
+ Art by Iris Jay
## *Mitzvot and Selected Letters*
-
- Art by Iris Jay
+
+ Art by Iris Jay
-
- Art by Iris Jay
+
+ Art by Iris Jay
- Spoiler
- Art by Iris Jay
+ Spoiler
+ Art by Iris Jay
-
- Art by Iris Jay
+
+ Art by Iris Jay
+
+
+
+ Fan art by Fudge
## Additional art
-
- Art by Iris Jay
+
+ Art by Iris Jay
-
- Art by JAIYANDT
+
+ Art by Jade
-
- Art by JAIYANDT
+
+ Art by Jade
- Artistic nudity
- Art by JAIYANDT
+ Artistic nudity
+ Art by Jade
-
- Fan art by Fudge
+
+ Art by Roxanna
+
+
+ Art by Roxanna
+
+
+
+ Art by Roxanna
+
+
+
+
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- 
- 
- 
- 
- 
+ 
- 
+ 
- 
+ 
- 
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Spoiler
- 
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+ 
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Artistic
+