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?
-
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 four novels, two novellas, and an anthology of short stories, there's story to explore spanning nearly three centuries of history.
+
+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!
+
diff --git a/content/about/_index.md b/content/about/_index.md
index a07907a..5fc655e 100644
--- a/content/about/_index.md
+++ b/content/about/_index.md
@@ -17,15 +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)
-* [Writing in the Post-Self Setting](writing)
-* [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/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/writing.md b/content/about/writing.md
index d3592d6..14a633e 100644
--- a/content/about/writing.md
+++ b/content/about/writing.md
@@ -19,7 +19,7 @@ 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.
+ * *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.
@@ -28,7 +28,7 @@ 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 1400kp/s), 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.
+ * *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
:
@@ -37,7 +37,7 @@ Artemis
* *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.
+ * *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
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 607911a..a4b7171 100644
--- a/content/extras/_index.md
+++ b/content/extras/_index.md
@@ -52,18 +52,9 @@ h2 {
[Nanon](nanon)
: The constructed language spoken by the Artemisians.
-## Soundtracks
+[Music](music)
+: Music that inspired or was inspired by Post-Self
-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.
-
-* [*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/arthur.md b/content/extras/calls/arthur.md
new file mode 100644
index 0000000..d84b1e6
--- /dev/null
+++ b/content/extras/calls/arthur.md
@@ -0,0 +1,51 @@
+---
+title: 'Call for submissions: Arthurian anthology'
+---
+
+Launch. In 2325, two smaller versions of the Lagrange System, Castor and Pollux, were launched in opposite directions on a one-way trip out of the Solar System. Aboard are only uploaded minds, each able to fork, creating copies of themselves at will, and merge back down to share their separate memories.
+
+Of these personalities, we find ourselves with countless stories, and among those stories, echoes of the past appear, all surrounding a group of friends. The legends of King Arthur play out once more.
+
+### 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, pending funding. 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 [Discord](https://makyo.io/ps-discord) or the Post-Self [Telegram Group](https://makyo.io/ps-telegram).
+
+Submit by
+: DMing on either of the above platforms or by emailing
+
+### Collaboration
+
+This is a collaborative anthology, following the pattern established by [The Furry Historical Fiction Society](https://fhfs.ink) and [*Clade*](https://clade.post-self.ink). As such, much of the discussion around the project will take place on Telegram and Discord, and organization will take place via Google Sheets. In the latter case, we are happy to help manage your information in the sheet if you do not have a Google account, but communication via one of the two chat outlets is required.
+
+The general outline of steps is as follows:
+
+1. Application and legend selection — you will select a story from the various legends of Arthur that no one else has selected (or discuss collaborating directly with another author) and fill in your information on the sheet.
+2. Writing — write your draft, keeping the other writers up to date on your progress via the chat and the sheet.
+3. Editing and reading — edit your story, ask for beta reads, get an editing pass from others, and so on.
+4. Typesetting — an order for the stories will be chosen and they will be typeset into a PDF for the paperback.
+5. Round-robin editing — once all stories are typeset, you will help do line- and copy-editing for the stories before and after your own on the final print PDF.
+6. Publication and marketing — help boost the visibility of the anthology on your socials!
+
+More information is available on request, and you can always feel free to ask questions of Madison.
diff --git a/content/extras/calls/marsh-anthology.md b/content/extras/calls/marsh-anthology.md
index 670416d..b10d067 100644
--- a/content/extras/calls/marsh-anthology.md
+++ b/content/extras/calls/marsh-anthology.md
@@ -2,23 +2,23 @@
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 — published in a separate volume.
+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 (please ask if you are planning on writing more; I will likely say yes!)
+: Approximately 2,000–5,000 (please ask if you are planning on writing more; I will likely say yes!)
Payment
-: Flat fee of $50 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.
+: 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, 2023 / Hard deadline: May 31, 2024
+: Soft deadline: April 30, 2024 / Hard deadline: May 31, 2024
Estimated publication date
: August 1, 2024
@@ -27,7 +27,7 @@ Please include
: Your story and a short author bio
Please read
-: The [writing guide](/about/writing), and at least [the synopsis of *Marsh*](/extras/summaries). I will also provide the current draft of the book if you get in touch.
+: 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)
@@ -35,3 +35,4 @@ Consider joining
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/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/summaries.md b/content/extras/summaries.md
index ff34f8c..074b782 100644
--- a/content/extras/summaries.md
+++ b/content/extras/summaries.md
@@ -16,27 +16,7 @@ And, nearly a century on, society still struggles with the ramifications of thos
Features the bonus novella *Gallery Exhibition: A Love Story.*
-
-Spoilers for Qoheleth
-
-*RJ Brewster* is a sound technician for a theater and pioneer of a type of virtual reality that involves integration with a system in a non-human fashion - when ey works sound for the theater, ey is essentially the room. When not working, ey spends much of eir time online with friends, also in VR, where ey is a genderless fennec fox. Recently, *Cicero*, one of eir friend group has 'gotten lost': while he was interacting with the VR system, the system crashed and, even when removed from it, he was left still 'inside', with no way to remove him. RJ (AwDae when online, due to the limitations of a canine muzzle on pronouncing letters), eir best friend and ex *Sasha* (a skunk), and Cicero's partner *Debarre* (a weasel) have been trying to figure out what they can about Cicero's circumstances and how he can be rescued. After digging into the research, RJ emself gets lost during that night's rehearsal at the theater.
-
-*Dr Carter Ramirez* is a scientist at the University College of London working on studying the lost. She is head of the research team and focuses specifically on the statistical, psychological, and data science side of the research. Her coworker, *Dr Sanders*, leads up the neuroscience side of research. When RJ gets lost, Sanders mentions that 'another furry' has gotten lost, and Dr Ramirez gets a hunch that there might be some social vector to the lost. When she starts investigating along those lines, however, she meets strange amounts of pushback from both Sanders and the grantors funding the research. She pushes on with a reduced team of *Avery*, a nonbinary statistician, and *Prakash Das*, a neuroscientist. Avery discovers that RJ's case may be unique in that eir marketing trail has been influenced by eir nonbinary gender as well as eir aromanticism, meaning that ey is both easy to track and unique in eir social circles.
-
-Nearly two hundred years in the future, *Ioan Bălan*, an historian living as an upload in a computer system, is contacted by an enigmatic fennec fox named *Dear, Also, The Tree That Was Felled*, who is looking to hire em as an amanuensis, someone to help both investigate and to witness the investigation into a problem that its "clade", the Ode clade, is running into. A clade is the set of individuals in the system forked from a common ancestor, with "forking" meaning that the individual makes a copy of themselves who is unique from that point on. Some unknown person has allegedly spilled a secret of some importance to the Ode clade, namely the name of the author of the Ode to the End of Death after which they are named, someone who died before uploading. While Ioan is initially skeptical of being used as a private investigator, ey quickly becomes interested in the strange intricacies of the Ode clade and the mystery itself, which primarily takes place as a playful puzzle using various forms of encryption set forth by someone who will only identify himself as Qoheleth.
-
-When ey gets lost, RJ/AwDae awakes in eir old high school as a fox, rather than as eir human self. While there, ey struggles with the loneliness and maddening features of the 'sim' in which ey has found emself. Ey hunts around and eventually finds a set of clues related to Cicero's disappearance. After struggling with various aspects of the sim such as doors being locked, a 'fog of war' that keeps em from seeing more than a hundred or so feet while ey is outside, words in books refusing to stay still on the page, and nauseating 'skips' when ey travels through places ey has never seen before, ey deduces that ey is not actually in a sim as it exists in the waking world, but trapped in eir own mind with the VR technology (which takes the form of implants in eir hands, forehead, and a column along eir spine known as an 'exocortex') mirroring eir experiences back to em through the technology already in place. Notably, the information ey was exposed to before getting lost has been cached in eir exocortex, and ey has full access to it. Realising that ey are stuck in something more akin to a dream than a sim, ey begins treating it as such, molding the world to eir whim, all while eir sanity seems to erode from the effects of this setup.
-
-The pressure against Carter continues to mount, and she eventually gets in touch with *Johansson*, the director of the *Soho Theatre Troupe* where RJ worked. He agrees to help her and her to help him in turn. Meanwhile, Sasha gets in touch with Caitlin, the light tech with the STT, who provides her with some information, including the name and contact information for Carter. When she contacts Carter, however, Carter seems very spooked and will only meet up with a 'throwaway' account and location. Sasha questions why Carter is receiving so much push-back when her team has yet to publish any information on this new tack of investigation along the social vector, and Carter panics, deducing that there is a plant on the team, likely Sanders, who is passing information up to the grantors, who are mostly government types.
-
-Carter, Sasha, and RJ independently deduce that there was an event in the recent past involving the Direct Democracy Representative (or DDR), a gamified system by which every citizen may vote and comment on legislation, a vote which has gone missing with many of those who did vote on it (and some who were investigating it such as RJ) getting lost. Carter and Avery are discussing the data showing this when, before their eyes, the data starts to change. Carter has Avery pull her from the system, an act which will cause the data that is cached in eir exo to be backed up as a 'core dump'. She goes for a walk to clear her head and gets several frantic messages from her team that security and the police have showed up and are looking for her. Prakash tells the police that he will go find Carter, and is revealed to be a spy for one of the other two superpowers in the world, the Sino-Russian Bloc (with much of Europe and the Americas being part of the Western Federation). He retrieves the core from Carter's exo and tells her to head to the University Medical Center where RJ is being kept, with the reasoning that if she were to run now, she would be seen as guilty of evasion, while if she goes to the UMC to see a patient who should be anonymous, she is merely guilty of an ethics violation.
-
-In the future, Ioan and Dear have tracked down Qoheleth, the one who spilled the Name and find, to their surprise, that he is *Life Breeds Life, But Death Must Now Be Chosen*, another member of the Ode clade. Qoheleth wants to bring together the entirety of the Ode clade, which Dear struggles to do. When they finally manage to gather together, Qoheleth explains that the inability for uploads to forget is slowly driving everyone mad and that something needs to be done to change it. When he gets cocky and mentions that he said the Name to get the clade's attention, an analyst that one of the members brought with them runs up and assassinates him. It turns out that part of the clade, known as the conservatives, simply wants to keep their secrets and does not care for any new information.
-
-Carter makes it to the UMC and, taking a risk, logs in to meet up with Sasha and Debarre to pass on what has happened at her work and what she knows of RJ. Part way through explaining what is happening, Sasha falls over in pain and then her system crashes, and Carter and Debarre deduce that she has gotten lost as well and both log out immediately. When Carter goes to visit RJ, she finds both the police and Johansson and Caitlin there already. Johansson distracts the police while Carter sets up a 'mirror rig' with RJ, a training device for those who are learning to use their implants which allows an instructor to help control RJ, acting on a hunch from seeing Sasha disappear. She logs into the mirror rig with RJ and finds herself in a confusing, dreamlike place with AwDae at the center of it all, spouting lines from a poem that we now recognize as the Ode. Carter struggles to convince em to come with her, and eventually succeeds. She immediately dives back in and publishes via the DDR what she has learned as well as how to free the lost.
-
-Debarre frees Sasha, finding that she is similarly affected by the mirroring experience, though to a lesser extent than RJ. All of those who were lost are forever changed, and few for the better. Cicero finds it to be too much and kills himself. Shortly after his funeral, Sasha receives a letter from RJ mentioning that ey must go back to that mirror world and has volunteered to be an early subject for uploading tech that will lead to the world Ioan and Dear inhabit, a process that will kill eir body and, unless everything goes right, ey will not be able to see her again. The letter includes the entirety of the Ode, and we learn that Sasha is *Michelle Hadje*, the basis for the common ancestor of the Ode clade. Sanders winds up in prison along with several who instigated the plot to remove that vote from the records. Prakash winds up back in the Sino-Russian Bloc (where, it is implied, RJ's procedure will take place). Ioan winds up eir job as amanuensis with Dear and begins to write up eir report/essay on the subject but, on a whim, contacts Dear and its partner to ask if ey might create a long-lived fork (eir first), Codrin Bălan, to work with them both on the project.
-
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Qoheleth/synopsis)**
### Toledot (2022)
@@ -46,65 +26,7 @@ No longer bound to the physical, what lengths should one go to in a virtual worl
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.
-
-Spoilers for Toledot
-
-#### Part 1 --- Departure
-
-In 2325, those who live on the System (sys-side) and those who still live back in the physical world (phys-side) complete a true collaboration for the first time in nearly two centuries. Scrounging together the lingering remnants of humanity's desire to explore outward, away from Earth, they launch two identical smaller versions of the System, Castor and Pollux, on a centuries or millennia long extrasolar voyage.
-
-After the success of their project surrounding Qoheleth and the problems of an infallible memory, the *Bălan clade*, made up of *Ioan Bălan* and *Codrin Bălan*, has decided to undertake the task of documenting the history of the launch project. In the intervening years, Codrin has found emself in a polyamorous relationship with *Dear, Also, The Tree That Was Felled* of the *Ode clade* and its partner, and they are all incredibly gay for each other. Dear has convinced Codrin and its partner to invest entirely in the launch vehicles, or LVs, tickled by the idea of irreversibility and the fact that it will not remain on the original system parked at the Earth-Moon L5 point. When interviewed by one of the Codrins, it states that the other reasons for it investing entirely in the launch are that it wants to feel missed by someone, and that eventually, it wants to die a real death.
-
-Meanwhile, Ioan, working with one of Dear's cocladists, *May Then My Name Die With Me*, a very affectionate skunk, has decided to remain solely on the L5 system, acting as a communication point, organizer, and editor of the history and mythology that ey and both Codrins are collecting.
-
-Working on the phys-side, Douglas Hadje, a distant descendant of Michelle Hadje, the progenitor of the Ode clade, acts as phys-side launch coordinator, with May Then My Name being his sys-side counterpart. He has long been fascinated by the System, often thinking of how his great-great-etc aunt must still be inside, often wishing to contact her but never feeling brave enough. Michelle/Sasha, as the root instance of the Ode clade, had quit in 2306, however, after two centuries of dealing with a broken mind. After the launch and the decline of his duties, May Then My Name begins interviewing him for the phys-side perspective of the events surrounding the launch.
-
-The night after the launch takes place, Ioan and May Then My Name decide that it might be worth tying the history of the launch with the early history of the secession of the System from the rest of human society, as the launch took place on the 200th anniversary of Secession Day.
-
-A second thread of the story follows *Yared Zerezghi* as a phys-side Direct Democracy Representative (DDR) junkie campaigning on the forums and debate sims for a referendum on the individual rights of those who have uploaded to the system. Many view the uploads as something other or less than human, and, grumbling about the costs of maintaining the System, wish to put them to work. Further complicating this is the fact that those who upload still retain citizenship to their countries of origin, meaning that all works that they create are technically done so under the jurisdiction of that country. He is tapped by *Councilor Yosef Demma* of the Northeast African Coalition to help guide the discussion toward the idea of independence of the System, stating that, because there are basic differences in the culture of the System and any other culture on Earth, there is no way that they can be governed the same way. Yared, he explains, will receive suggestions from Councilor Demma's political analysts telling him how to steer the conversation.
-
-#### Part 2 --- Progression
-
-Sys-side, *Michelle Hadje/Sasha* is a member of the Council of Eight, a group who seeks to guide but not govern the System, working primarily in the capacity of writing proposals for features and architecture changes. The rest of the council includes her friend *Debarre*, an Israeli Jew named *Zeke*, the son of a New Zealand politician named *user11824*, three interchangeable and unnamed political representatives from the Sino-Russian Bloc (who is currently hosting the System), and *Jonas Anderson*, an ex-politician from the Western Federation.
-
-Michelle/Sasha still suffers from the lingering effects of getting lost decades prior, which is expressed much as her experience was at that time, with waves of her two personalities changing her form between anthropomorphic skunk and human, a very uncomfortable and distressing sensation. She asks the Council if she might spend the reputation required to fork off ten instances of herself to begin the Ode clade --- a name and structure which worries Debarre --- so that she can let them take her workload and she can take a vacation. The council agrees, so she forks off ten instances of herself. As she does so during those waves of form and fluctuating personality, each winds up with a different appearance and personality. Jonas tasks one of them, *The Only Time I Know My True Name Is When I Dream*, to help him in his work corresponding with Yared on the topic of individual rights.
-
-Throughout the interviews that Ioan and Codrin conduct in 2325, they begin to learn about the structure and history of the launch project (now becoming the proper noun Launch to match the proper noun Secession). One instance of Dear tells Codrin that it will not tell em the entire story, and that if pressed, it will resent em and be too tempted to lie because the past is too complicated and bound up in shame. The Bălan clade's initial interview selections are scattershot, including a musician who is credited for finding a way to transmit sheet music back and forth between sys- and phys-side; an author (*Joseph Rankin*) who has invested entirely in the Launch with an outline for a book to write so that his editor back on the System can see how the two different versions of him begin to diverge, and an astronomer who calls himself *Tycho Brahe* who has invested entirely in the launch out of an impossible dream of seeing the stars: audio and visual transmissions between phys- and sys-side are impossible because they come through all garbled as they might in a dream, so he can't actually see the stars.
-
-Despite these initial starts, they begin to notice patterns surrounding the time at which the families of uploads who remain phys-side are compensated as well as the "Dreamer Module", an instrument and radio package attached to each of the launch vehicles, used to Do Science™ as well as broadcast a nested signal for extraterrestrial life to pick up, a topic which encountered unexpected friction sys-side from the Ode and Jonas clades.
-
-#### Part 3 --- Acceleration
-
-In 2124, picking up on the fact that he's being used by a NEAC politician to steer the System towards secession, Jonas and True Name discuss how they might use Yared to further their own ends, with it becoming increasingly clear that this particular Odist has wound up with much of Michelle/Sasha's political skills as well as more than a little cynicism and very little empathy. She meets with a few other Odists as she works with Jonas: *That Which Lives Is Forever Praiseworthy*, who begins to act as propagandist, helping True Name shape her image to be more effective; and *Life Breeds Life But Death Must Now Be Chosen* who is tasked with slowly modifying the collective unconscious's perception of both the Ode clade and the Council of Eight, which they plan to dissolve after Secession, so that the Odists and Jonases can continue their work of guiding the System toward increased stability and safety long into the future.
-
-True Name is pleased to see how smoothly the topic of secession goes over with the Council of Eight, thanks to Praiseworthy's propagandizing. She meets with Debarre, who was initially put off by the choice of the Ode as a naming scheme and the desire to hide the name of the poet, *RJ/AwDae*, but his nerves are soothed. Debarre also meets with Michelle for much the same reason, finding her much diminished and unable to continue working, now that her clade has taken over her job. She explains that she's still struggling with survivor's guilt after AwDae sacrificed emself during the creation of the System, and while she's trying not to just live in grief, she does want to memorialize em.
-
-After considering Rankin's plan to have each of his instances work independently, the Bălan clade decides to do the opposite and instead stay in touch for as long as they can (the further away the LVs get from the System, the longer the transmission times) to organize their interviewing effectively. To that end, one Codrin interviews Zeke, now calling himself Ezekiel and living much as his prophet namesake did, who explains more about how the Council of Eight was undermined by Jonas and True Name, guiding the Bălans to other Odists to interview.
-
-One Codrin interviews the intensely charismatic *Why Ask Questions Here At The End Of All Things* who describes some of the ways in which the Ode clade and specifically True Name's stanza worked to manipulate politics on a large scale during both Secession and Launch, though the reader starts to pick up on the fact that some of what ey learns is not wholly true. The other Codrin talks with Dear about the mood surrounding Secession. Ioan interviews *Do I Know God After The End Waking* who was tasked to meddle with finances phys-side to encourage the shift from needing to pay to upload to being compensated, particularly that the first child should upload to fund the future of the subsequent children, as Ioan did. He now feels deep shame about having done so, though there are similar half-truths here.
-
-Some of these grand-scale machinations are confirmed in interviews with others, such as when Douglas talks with Ioan and May Then My Name about various shifts that he's seen over the years and some of the sabotage attempts against the System as a whole and the Launch specifically. He and basically everyone else (including May Then My Name) can tell that Ioan has fallen in love with May Then My Name, and Douglas even asks them about it, but Ioan is too stuck up in his head to realize it, much less do anything about it. Ioan and Douglas hatch a plan for Douglas to finally upload, something that May Then My Name won't shut up about, on the one year anniversary of Launch so that he can surprise her. May Then My Name very carefully does not tell Douglas that she's a distant instance of Michelle/Sasha, wanting to keep that as her own surprise.
-
-Yared introduces an amendment allowing the System to secede to the referendum on individual rights. Despite the consensus swinging largely in favor of rights, this amendment becomes hotly debated, leaving Yared feeling much of the parasocial effects of that: those who are in favor of the bill start to be in favor of him, and those who are staunchly against it begin to hate him specifically. Demma, True Name, and Jonas all do their best to ensure him that the chances of this failing are low and that, even though he may always be associated with this topic moving forward, he should still be proud of his work. Sure enough, the referendum passes with both the secession amendment and an amendment moving the physical elements of the System to the L5 station (which begins as a luxury hotel) intact, all taking effect on January 21, 2125.
-
-#### Part 4 --- Arrival
-
-Demma brings Yared to a New Years Eve party with the politicians and business executives who were working toward Secession. In the car ride back to his home, Demma laughs at Yared, calling him a starry-eyed dreamer and revealing that his entire plan was just to get the System out of the way and out of Earth's ongoing political schemes so that they wouldn't remain associated with each other, since the System is just a dumping ground for dreamers. He suggests that Yared upload, since that's where he belongs, and since any further attempts to interact with the DDR will be monitored and, should he diverge from the party line, there will be reprisals, Yared feels no other choice but to upload, the last before Secession, leaving him anxious around any form of politics. He is met by True Name and brought to the Secession Day celebration.
-
-Two hundred years later, Yared, along with Debarre and user11824, meet up with Dear, its partner, and Codrin for a dinner party. The three (four, if one counts Dear as being of Michelle/Sasha) former members of the Council of Eight talk about the dissolution of the Council and the ultimate cynicism of True Name and Jonas. Yared shares a story from the middle ages known as the "Toledot Yeshu" or Generations of Jesus which describes, in part, Paul as actually something of a tool of the Jewish leadership of the time, guiding the burgeoning new spirituality into a religion of its own rather than simply another sect of Judaism. Yared calls himself a tool of Paul, in the form of Demma, True Name, and Jonas.
-
-The Bălans begin to interview a few instances of Jonas as well as True Name, finding out just how deep the manipulation goes. The two clades have strived to do all they can to maintain the stability and continuity of the System, including ensuring that life on Earth never gets too good so that the System is always seen as a better life, but not so bad as to make phys-side humanity give up entirely. In order to keep the stability from getting too boring, they have also been introducing small amounts of chaos into the life of the System so that they remain stable but not apathetic. These manipulations have all been subtle, from nudging a young Douglas Hadje toward becoming interested in the System and eventually becoming phys-side launch director due to the story element involved.
-
-The launch itself, despite its public beginnings in 2306, has been in progress since 2290 as one of these ways of keeping life interesting. All of this has been run through a cost-benefit analysis, including even having the history/mythography written specifically by Ioan. Not only have all of their interviews been tracked and shaped, but in 2298, seven years before even getting involved in the Qoheleth affair, Ioan was tapped as the appropriate author for the project, with a suggestion that the Qoheleth affair might have been some form of test. The only thing that failed the cost-benefit analysis yet still made it into the launch project was the portion of the Dreamer Module which contains broadcast instructions to be read by extraterrestrial sources on how to build a human mind and sensorium, templated after Douglas Hadje, and upload it into the LV System. The concession there being that the uploads will be placed in a DMZ, cut off from the rest of the System.
-
-The manipulation even makes its way down to the individual scale. The last act of Michelle/Sasha was to give each of the first lines of the ten stanzas (second in the case of Qoheleth) one last vague suggestion. This, it turns out, was influenced by True Name, and she doesn't deny manipulating Michelle/Sasha towards quitting through the long years.
-
-After the final interview with True Name, Ioan confronts May Then My Name about her role in all of this, and she is revealed to be a failed experiment by True Name to influence individuals by being too likeable to resist. Where True Name was excessively cynical, however, May Then My Name became excessively empathetic and thus difficult to control, so all True Name could do is point her at someone and hope that the correct outcome occurred. Her most recent target was Ioan, and, given how ey feels about her now, True Name's mission was a success. Ioan says that ey believes May Then My Name is innocent of any conscious manipulation, stating that she simply as crazy in-laws. Ey finally realizes that, oh, yeah, they've actually kind of been dating for a few years now, ey was just too dense to realize it, so the relationship is formalized and May Then My Name makes fun of em for it. They are incredibly gay for each other.
-
-As planned, Douglas uploads on the eve of the one year anniversary of Launch and is met by Ioan, who instructs him on how to work within the System, then brings him to Michelle/Sasha's sim, where he has a good cry. The next day, Ioan and May Then My Name come to the sim for a picnic. May Then My Name is shocked to see him, so she reveals that she is of Michelle/Sasha, which leaves Douglas feeling mixed and overwhelmed, so they have their picnic instead. With essentially no loose ends in his life, and seeing how one can still be happy in the system by how Ioan and May Then My Name interact, he feels more complete than he's ever felt before.
-
-In an epilogue, the Dreamer Module on the Castor LV receives a transmission from an extraterrestrial craft of similar design confirming that they understand the instructions on how to upload, that they will be approaching relatively close, and await consent to upload. Tycho Brahe, the feels like he's the only one who seems to care about the Module, gives consent.
-
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Toledot/synopsis)**
### Nevi'im (2022)
@@ -118,85 +40,7 @@ When faced with eternity in a new kind of digital world, however, old traumas co
Growth is colliding with memory, and the cracks are showing.
-
-Spoilers for Nevi'im
-
-As a prologue in 2114, *RJ Brewster* meets with *Dr. Carter Ramirez* and *Prakash Das*, a spy for the Sino-Russian Bloc, for lunch. RJ has been having a very hard time re-acclimating to life after being lost. Ey has lost eir job due to fears around delving in, and eir cat has passed away. Ey considers Dr. Ramirez and Sasha eir only remaining friends. After lunch, Prakash catches up with RJ and offers to bring em in on a project to create a new embedded world with uploaded consciousnesses based around the information learned from the lost.
-
-#### Part 1 --- Anticipation
-
-In 2346, more than twenty years after the two smaller versions of the System, Castor and Pollux, were launched out of the solar system, someone has picked up on the signal transmitted by the "Dreamer Module", a part of the launch vehicles containing scientific instruments as well as some recordings as a way to possibly get in touch with extraterrestrial life on the journey.
-
-*Tycho Brahe,* the astronomer on call (and one of *Codrin Bălan's* interviewees for the *History*), has received a message from a passing vehicle claiming that they are nearby and understand the mechanism by which consciousnesses may be transferred between ships, stating that they have similar and would like to meet. Tycho, without thinking, grants them consent to do so, and promptly freaks the fuck out.
-
-Unsure of where to turn, ey contacts Codrin and visits em and eir partner, *Dear, Also, The Tree That Was Felled*, early in the morning, explaining what happened, that there will likely be alien visitors before long, and that it's all his fault. They talk him down from his panic and send him on his way back to his sim, an observatory of sorts.
-
-Back at his sim, he meets up with *The Only Time I Know My True Name Is When I Dream*, who has, in the past, helped steer the direction of both the System and life on Earth through subtle political manipulation. Despite his anxiety, she's really quite nice to him and invites him to fork (creating Tycho#Artemis) and come work with her and *Jonas Anderson* on the project of first contact.
-
-There, he meets one of True Name's cocladists, *Why Ask Questions When The Answers Will Not Help*. They share the next message that has arrived, offhandedly mentioning that they are now gating communication with the remote ship (which they have dubbed Artemis). The message contains a set of instructions for how better to align Castor to Artemis for transmission as well as for a space to create in order to have conversations in person. True Name explains that this will take place in the DMZ, an area that is inaccessible to the rest of the System except through a single, tightly controlled access point. The conversations will take place on both Castor and Artemis in similar spaces.
-
-The Artemisians request to meet with a party of five: someone in a leadership role, someone who can act as a recorder/amanuensis, a scientist, and two representatives. They have put forth *Turun Ka* of firstrace as leader, *Turun Ko* of firstrace as recorder, *Stolon* of thirdrace as scientist, and *Iska* of secondrace and *Artante Diria* of fourthrace as representatives, implying that there are at least four different uploaded races aboard their craft. In return, they will send True Name as leader, Codrin Bălan as recorder, Tycho as scientist, and another of True Name's cocladists, *Why Ask Questions Here At The End Of All Things* as a representative, leaving the final representative up to Codrin to choose. Until then, Tycho#Artemis works with *Sovanna Soun* and *Dr. Paolo Verda* on the technical side of setting up the meetings, as well as learning some of the Artemisian language that they have provided.
-
-Codrin, meanwhile, discusses some fears with Dear, stating that ey feels like ey's lacking agency, always getting dragged along into these enormous events. They're fun and all, but ey's starting to feel like ey isn't actually doing anything worthwhile. Ey is nothing if not a recorder, though, so ey visits with Tycho's root instance to describe what all will likely happen during this meeting. Back at home, ey discusses the request from True Name with eir partners, and Dear's partner suggests *Sarah Genet*, their therapist before they uploaded, as someone who is normal, curious, and a grounded.
-
-The team of emissaries (plus Dear) meet up at Tycho's dark-sky sim for dinner, where they discuss their hopes and fears surrounding this summit. They also learn just how under control the situation is by True Name and Jonas, with the announcement of the arrival of Artemis being tightly planned and shaped by the Odists. After, Tycho has a dream about meeting the Artemisians, which leads to sending them a series of questions surrounding their society and lives.
-
-They learn that the Artemisians do not have anything analogous to forking, but instead allow for fine-grained management of time; individuals or groups can move faster or slower than the rest of the world around them, allowing them to get more work done in fast-time or to wait out long periods in slow-time. The Odists (especially Dear) react poorly to this, explaining that it is similar to the experiences they had while lost.
-
-In the twenty years since launch, Castor has made it seven light-days away from Lagrange (the home System), so it isn't until seven days later that *Ioan Bălan* and *May Then My Name Die With Me* receive news of first contact, as well as Codrin's thoughts on eir lack of agency. In the interim, they have moved on from their lives as historian and launch coordinator to both start working in theatre under the direction of another Odist, *Time Is a Finger Pointing At Itself*, with Ioan now writing plays.
-
-They are contacted by the version of True Name that has remained on Lagrange. In the intervening years, May Then My Name has grown to truly hate her down-tree instance, feeling that the way she was manipulated was unfair, and the way she was used to manipulate others rather evil. There is a tense conversation about what knowledge they've received about the Artemisians versus what knowledge True Name has received, as well as all of the ways both True Name and May Then My Name have changed, with the former noticeably more cowed and anxious than she had been twenty years prior. She asks that they not share the information beyond a limited circle until a wider, more controlled announcement can be made. May Then My Name makes her cry and kicks her out of her and Ioan's house.
-
-Tycho watches the news disseminate and how it's being shaped by Odists such as True Name, Why Ask Questions, and Answers Will Not Help. They work out a date to begin the conversation once they are in effective Ansible range with Artemis and discuss what to expect, including the fact that they may not have enough in common with the Artemisians to actually understand them. It's decided between the two parties that the discussions on Castor will surround sharing scientific knowledge and those on Artemis will surround history, society, and psychology.
-
-#### Part 2 --- Experience
-
-The talks begin on both Artemis and Castor. On Artemis, Codrin arrives already 'skewed up' to fast-time, allowing em to see the Artemisians even as they others appear almost frozen at a much slower time scale. There are indeed four types of Artemisians: firstrace, which was described as post-biological, appear to be synthetic constructions that are equally comfortable on two or four legs with six-fingered hands and feet with two opposable thumbs and a thick tail for balance, analogous to a kangaroo. Secondrace is described as looking so close to a weasel that it would be easy to mistake them for Debarre, were it not for how short they are. Thirdrace looks something like a very colorful lizard with scales that shine like an oil slick and a frill of feathers or elongated scales around the crown of their heads. Fourthrace appears almost human, though with their features much smoothed.
-
-Turun Ko, the other recorder, skews up to fast-time to talk with Codrin, where they discuss how, most of the time, people live in 'common time' and shows em how to manipulate time to eir liking. The two Odists are indeed already suffering; Why Ask Questions has collapsed onto the pavement, shifting wildly between human and skunk forms just as *Michelle Hadje* had, and True Name is using all the energy she has to stay in one form. They are taken to a 'unison room' where time is pinned in place for all occupants while the other three emissaries are taken to their rest area. There, Tycho confides in Codrin that he doesn't think that that was Why Ask Questions but rather Answers Will Not Help.
-
-Back on Castor, greetings go much more smoothly, and the talks begin with a series of questions. Tycho and Stolon, the scientists, hit it off immediately and they have to be reminded several times that this is not simply an astronomy conference. Sarah and Artante also discover that they are both psychologists and share a lot in common.
-
-On Lagrange, May has wound up 'overwhelmed', an experience similar to that which is described as Dear having, where emotions get the best of her and she has to spend time alone in order to bring herself back to baseline. When she is able to do so, she meets up with Ioan and Douglas at Michelle's old field. There, she explains that this episode lasted longer than usual because, toward the end, she was contacted by *If I Am To Bathe In Dreams*, who has been acting as the Odists' therapist, to meet up with another stanza's worth of Odists, as the first line, *May One Day Death Itself Not Die* quits without leaving a fork, followed shortly by her up-tree instance, *I Do Not Know, I Do Not Know*. With Qoheleth gone, this leaves only 97 Odists left. Ioan and Douglas express their concerns that the cracks are starting to show in more of the clade as more of them go mad. Once back home, Ioan and May are intensely gay with each other and totally in love and it's really cute. Also, they discuss the option of the Odists leaning on Sarah Genet as a therapist to help them not all succumb to madness.
-
-Codrin#Castor and Codrin#Artemis exchange notes at the end of the first day, relying on another fork, Codrin#Assist, who ferries them between the DMZ and the rest of Castor where ey can transmit them to Artemis. They describe the first day and what they've learned, including the troubles that True Name and "Why Ask Questions" are experiencing on Artemis, though Codrin#Artemis hints at the fact that there might have been a swap with Answers Will Not Help.
-
-The discussions run into a few problems with mutual misunderstandings, and there is some frustration over the fact that the Artemisians often say "now is not the time to have this conversation" when certain topics are brought up. They power through it, though, and are able to learn some good information from each other, both directly from the conversations as well as from implications, such as the fact that, despite the Artemisians saying that there have been three of these 'convergences' before, they may have met more races than they are letting on, instances where there weren't convergences. True Name has a conversation with Turun Ka about how the Artemisians manage sentiment and steer politically, leading to some concern among the Artemisians. Tycho worries about her being so open about her own manipulations, suggesting that maybe she's losing it with the time skew.
-
-Ioan and May go camping with Douglas, A Finger Pointing, and *Do I Know God After The End Waking* in the latter's forest sim, where they discuss what it felt like to go lost and how it has left them all a little bit mad. May explains why this business with time skew might bring up those old feelings and why Odists aren't likely to spend much time on Artemis or join, should that be the direction things go in. End Waking says that he would probably try to join anyway, while Douglas says that he's upset that he won't get the chance.
-
-Ioan and Codrin#Pollux exchange letters --- since Pollux is seven days away from Lagrange, information from Castor arrives fourteen days late. Codrin#Pollux offers support to Codrin#Castor on taking control of eir life, explaining how ey took a position as a librarian at a university in the interim. Ey confides in Ioan, however, that ey is worried at how conservative Castor seems, with Dear, Codrin, and True Name all sounding much as they had twenty years prior, while Pollux has moved on: Dear has expanded the sim to include other terrain features, and its cocladist *Serene, Sustained And Sustaining* joined their polycule for a while, leading to two cocladists in a relationship with each other, something which is still considered taboo on Castor. They discuss how all three Systems have changed, with Lagrange being between Castor and Pollux in terms of conservative/liberal amounts of change.
-
-#### Part 3 --- Intensity
-
-True Name and Answers Will Not Help (as Codrin is now convinced she must be) are really struggling aboard Artemis now, with Answers Will Not Help the worse of the two. She often interrupts the meetings, spouting poetry and then apologizing that she cannot keep from speaking. Additionally, despite the talk taking place in a unison room, she is still somehow able to skew time a little (or unable to keep herself from doing so), which worries Iska, who is a time skew artist, analogous to Dear's instance artistry.
-
-This comes to a head when Answers Will Not Help interrupts with a long, rambling tirade, the end of which includes her saying the Name, more helpless in her crazed state than intentionally, and admitting that she is not Why Ask Questions. True Name confronts her angrily, and when she says it again, the skunk tackles her and, after a short fight, Answers Will Not Help quits. The emissaries should not have been able to skew in the unison room, nor should they have been able to quit, so Iska freaks out and runs off to find a system technician. True Name, now a total mess, admits to the deception, but Turun Ka says that they had expected such, but that conversations around the topic will remain for another time.
-
-While True Name rests, Codrin, Sarah, and Tycho meet up with Turun Ko, Artante Diria, and Stolon to discuss the fact that this whole time, the Artemisians have been following a checklist of steps that might occur during convergence with the goal of ensuring that everyone is safe and as happy as they can manage. The end steps would be either humanity joining them as fifthrace or parting on peaceable terms. Tycho admits that, given the chance, he'd join Artemis, given that he finally feels happy there.
-
-Ioan meets up with True Name on Lagrange to ensure that, even if they aren't fond of each other, there's no enmity in the air between them, that they can be polite to each other. Ey mentions discussions from Castor wherein Dear suggests that "even she must have emotions", which makes True Name cry because of course she does, but she's built a life where she can't show them and no one would believe her. Ioan asks if she's been in touch with Sarah, but she says that no, In Dreams never passed that on, showing that the rest of the clade has all but dropped her.
-
-May has kind of crashed after all these dramatic events going on, falling into a funk, though a more normal one. A trauma response in her is triggered when she starts an introductory session with Sarah and she has to step away, leaving Ioan to unintentionally have a therapy session with Sarah instead, which ey finds super useful. After, ey admits to her that ey's starting to feel a lot of sympathy for True Name, worrying about her.
-
-On Castor, True Name admits to the deception that took place on Artemis (Why Ask Questions having only been replaced for that side of the talks), leading her and Turun Ka to have several conversations separate from the rest of the delegates. During one of these lulls, Codrin discusses the checklist with Sarah, Turun Ko, and Artante.When they admit that there are conversations that they cannot have yet, Codrin gets frustrated and asks if ey can just *give* them information without necessarily having a conversation. When they say yes, ey gives them a copy of the *History* that ey wrote around the time of Launch, even if it shows True Name's political machinations. Ey also provides a copy of May's *Mythology*, saying that the Artemisians deserve more than just the sugar-coated synopses of their society that they've received so far. As its clear that ey shouldn't have done so without True Name's blessing, Sarah objects, but Turun Ko says that this is actually the penultimate step on the checklist: the fact that they still retain individual desire to better all races even in the face of leadership disagreeing, and that the talks between Turun Ka and True Name have been artificial, meant mostly to give the other emissaries the chance to go behind her back.
-
-On learning this on Artemis, the Artemisians wait for the final step in the checklist. When Tycho interrupts a talk to say that he wants to join them, and wants humanity to become fifthrace, the Artemisians welcome them as such, saying that the final step was simply a desire to join and an active decision to do so.
-
-#### Part 4 --- Integration
-
-After the talks and all of their instances have merged back down Tycho heads back to his sim to try and process what happened and is surprised when True Name joins him, saying that she doesn't know how to celebrate anymore, feeling that she isn't a whole person after two and a half centuries, much of that time spent focusing solely on politics. She suggests that eternal memory is clashing with the fact that she's still growing as a person, still changing.
-
-Back at the prairie, Codrin and Sarah catch Dear and its partner up on the happenings in a general way before Codrin invites Dear out on a walk. There, ey explains that Answers Will Not Help said the Name and kept saying "I cannot feel em" throughout the conference, so now ey knows about AwDae. Dear laughs about it, saying that it's the end of the era. It says not to tell any other Odists of course, but that it will become a game between their two clades, because turning it into one will make sure that any other Odists, namely True Name, looking in on them will simply see them goofing off and not actually sharing it. They pass this information on down to Lagrange, telling May about the game and Ioan about the fact that Codrin knows. May explains that this is a way for Codrin to not bear the knowledge alone as well as a way to reduce any culpability between the two clades.
-
-The DMZ is expanded and renamed Convergence, and the Ansible is turned on, allowing as many Artemisians who want to join them to do so, and any humans that want to join Artemis to do that as well. During a conversation with True Name, Tycho decides that he will invest totally in Artemis, leaving no forks behind.
-
-Codrin also decides to send a fork along to Artemis, even though it means that the fork will be alone, since neither of eir partners will be joining. Ey rushes to ensure that the fork is an individual in case that helps, so the fork becomes a woman named Sorina. She's unable to bring herself to say goodbye to her (former) partners, so she leaves without doing so. When ey returns home to eir partners, ey describes what happened, then says that ey actually wants to do something and be proactive, suggesting that they move to Convergence, taking the whole prairie sim with them. Ey also says that ey's getting out of the amanuensis business and going into therapy, since everyone kept saying ey was grounding and ey finds Sarah fascinating.
-
-In the end, Tycho invests fully after giving himself a eulogy at a small party of the emissaries and a few others who worked on the project. His last words are from a poem about his namesake: "Though my soul may set in darkness, it will rise in perfect light. I have loved the stars too fondly to be fearful of the night." He transfers to Artemis where he meets Stolon and joyfully admits that it's finished.
-
-As an epilogue, AwDae is shown going through the process of uploading, wherein the S-R Bloc scientists are shown still trying to create the System. Ey would be the only one, if it's successful, though no previous attempts have been enough to emulate an entire person, except for one other of the lost they tried with, but they were a bit too crazy and self-destructed as soon as they uploaded. When ey finally goes through the procedure, ey gives emself entirely to it and, though ey doesn't survive to exist as a person uploaded, the process of em giving emself so fully to it winds up creating the self-sustaining world that becomes the System, showing that, yes, the Odists really were feeling eir presence throughout the system the whole time, that ey was the origin of the System, and that they originally had to keep eir name secret because at first (though it diminishes later), everyone could feel that presence but didn't know who it was.
-
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Nevi'im/synopsis)**
### Mitzvot (2023)
@@ -206,82 +50,23 @@ Even the grandest of stories can feel small and immediate when it’s just one p
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.
-
-Spoilers for Mitzvot
-
-#### Part 1 --- Conversation
-
-It's late 2349, about about three and a half years since the fourth convergence, the meeting of the Artemesians with Castor. Life has taken a bit of a swing toward the adventuresome as news and new technology trickle their way back down to Lagrange, the original instance of the System in orbit around Earth. Technological changes include finer-grained ACLs that control permissions on various bits of the System, allowing for opaqued or visually secure cones of silence, limits on sensorium messages, etc.
-
-During those three years, *Ioan Bălan* wonders how this has become eir life: ey has been getting coffee with *The Only Time I Know My True Name Is When I Dream* of the Ode clade once a month. While the relationship between True Name and...well, everyone has been kind of strained, it was particularly tense between her and Ioan's partner *May Then My Name Die With Me* of the Ode clade, who, for years, struggled with feelings of hatred towards True Name. Although that hatred has softened towards resentment, these monthly coffee dates, where Ioan and True Name just chat and then work on their own projects, have been meant to keep avenues open between the two, since neither May nor True Name have given up hope on figuring out a path forward. They always seem to talk about each other to Ioan, and it kind of feels like they *want* to move forward, but they can't yet find a way.
-
-Oh, speaking of projects, Ioan is working on adapting eir book *On the Perils of Memory* (the story of Qoheleth) for the stage, True Name is prepping the System on the political side for the technological advancement that will allow audiovisual communication between the System and Earth instead of just text, and May is working on a monologue about being built to love.
-
-Ioan and May are just *incredibly* gay together, and it's painfully sweet, but I promise it's a legit plot element. They talk about how May forms and keeps relationships, that she only forms relationships as her root instance, and if a new one starts up while one is still going, only then will she fork to continue two relationships. Sorta like parallel monogamy. Ioan is her sixteenth relationship serious enough to warrant a fork (though, given the way she stepped back from True Name's guidance, she hasn't done so yet), and we learn that some of her forks are doubtless still in relationships, but that she lets them live their own private lives and never accepts merges when they quit, so she knows very little about them.
-
-Meanwhile, after a windstorm blew a tree over and crushed his tent and impaled his leg on a branch, *Do I Know God After The End Waking* has interrupted his months of solitude and called his boyfriend *Debarre* back to help him rebuild the tent in a new location. They're also pretty gay, but, like, in a super stoic way because E.W. can't emote and Debarre is a weasel and thus made of angst. May stops by their sim to visit and a) complain about the fact that True Name is in eir life, b) fret about why this still feels important, and c) flirt with Debarre (who is Very Gay™) to make him uncomfortable.
-
-Ioan heads out to Arrowhead Lake --- the abandoned mountain lake sim that ey discovered decades back --- for a walk to try and tease apart eir own feelings on being the bridge between May and True Name. Ey worries that ey has this urge to fix things in relationships, whether or not ey actually can (or whether or not those involved even want that). Ey's been fretting about this for a while, and even May has picked up on it, as she mentions when they go out to dinner afterwards. She suggests that this is maybe something that has always been the case for em, and that em uploading to provide eir brother Rareș with the subsidy funds was a way for em to 'fix' the situation as best ey could.
-
-True Name and Ioan have agreed that their next monthly meeting should be on Secession/Launch day, January 21 (yes I chose my birthday, no I am not sorry). This time, though, True Name arrives looking terrible, paranoid, like she hasn't slept in days, hasn't showered in a week, and hasn't changed her clothes in even longer. She says that she's been struggling, but that she and *Jonas Anderson*, the other behind-the-scenes leader of the System, have a 'gathering' later in the day. Weird choice of words, but that's what he said. As part of that, she's distracted with the fact that her instances are going to merge down before the gathering to reduce conflicts. Partway through this, one merge has learned that Jonas is looking for her, which is weird, because he knows she's with Ioan. The merges suddenly stop, though, along with all communication with her instances. She leaps to her feet, looks around the coffee shop, and sees the same assassin that killed Qoheleth walking toward them, so she grabs Ioan's hand and yells for em to take her 'somewhere, anywhere'. Ey tries taking her home, where they find the same assassin struggling with May, who forks, grabs the both of them, and yanks them to Arrowhead Lake. May is *furious*, and True Name caught in the middle of panic attack. She susses out that Jonas just tried to assassinate her.
-
-#### Part 2 --- Conflict
-
-Well, shit, okay. Now May and the person she dislikes the most are trapped in hiding together with no idea what's going on or how to move forward, and Ioan's position as bridge between them means ey's now trapped between them. True Name heads off to sit on the rock at the end of the lake to have a sulk and think about what to do next, leaving May to voice her frustrations and concerns to Ioan. She's pissed that no matter how hard she tries to get away from all of the things she dislikes about True Name (and, unspokenly, many of the things that she used to be), she just can't. She's also worried about the fact that their home has been invaded.
-
-Thankfully, this *is* a thing that Ioan can fix. Ey steps back home and sneaks around, investigating for anyone left over but only finding the mess from the struggle inside. Outside, however, ey finds Jonas sitting on a deck chair despite the snowy weather. Before ey can sweep him, Jonas says that he was just stopping by to make sure that ey and May were alright, which Ioan scoffs at. Jonas is an infuriating little snot, riling Ioan up with implications that ey's sweet on True Name before saying that he's hiring em as amanuensis once more, this time to witness and write about a formal discussion between him and True Name as they hash out the new status quo, to take place within one year's time. Ioan's baffled, given that he just tried to kill her, but Jonas says that was just plan A, and he has all the way down to plan M for ensuring that he gets his way and refuses to elaborate further, saying "Sometimes mommies and daddies fight, Ioan". He makes further implications about em an True Name, so Ioan bounces him from the sim. Ey sweeps the entire sim of everyone except emself and, while that action won't tell em who ey swept, it will tell em how many, and it says ey swept 17.
-
-Once ey makes eir way back to the lake, True Name finishes her sulk and rejoins them. She thanks them for getting her out of that alive and starts to say that she'll have to create a new sim for herself since home probably isn't safe, but May reluctantly suggests that she stay with them, instead, reasoning that it would be too easy for her to just disappear in a private sim and either get got as soon as she leaves or go crazy in her solitude. If she stays with them, though, not only is she around others, but those others are well enough known on the System that it'll dissuade Jonas from attacking her, lest May and Ioan, as trustworthy voices, catch him and make it public. It's awkward, but about the best they can do. Still, no one's comfortable going back just yet, so Ioan forks to meet up with End Waking and pick up camping gear so they can stay a night at the lake and have a night to regroup. End Waking and Debarre are supremely unhappy about the situation, and also kind of boggling at the fact that May is even putting up with True Name.
-
-While camping, True Name apologizes for the fact that she's been spying on them, as those seventeen that were swept were some of her spies, mostly others from the clade. Combined with a hunch ey had during one of their earlier coffee dates, this seems to imply that True Name on Castor never told True Name on Lagrange about the whole incident of Answers Will Not Help losing it and saying the Name in front of Codrin, showing that maybe Jonas's conspiracy includes the other instances of True Name as well, and it's only this one he's going after.
-
-Once they make it back home and get some coffee, Ioan expands eir house to include a second bedroom/bathroom for True Name to stay in. The next few days are very careful, though everyone's polite and there's no skunkfights. On the third day, though, True Name pulls May into a conversation in a visually secure cone of silence for about an hour. When it drops, True Name looks like she's been put through a wringer and May looks apoplectic. May leaves without a word, only sending Ioan a brief glimpse of the lake to show she's alright. True Name refuses to expand on what the conversation was about other than to make vague allusions to Jonas's quip about mommies and daddies fighting.
-
-May visits End Waking and Debarre after crying herself out. She explains more about the current situation and says that what True Name told her is too much to even talk about except that Jonas has played a long game with True Name and has been controlling her from the beginning, though we get the impression End Waking may know more than what she says aloud. She talks about how she's feeling torn, that she wishes TN was no more so that she wouldn't be in their lives, but also that she doesn't want her to die. Debarre echoes this sentiment. End Waking is stoic some more until May suggests he merge down with True Name, at which he gets kind of shouty. After she leaves, Debarre and End Waking talk, the latter saying he's not too keen on the idea of merging down because that means True Name will have his penance without having done any of the work herself. Debarre disagrees, saying that she'll also have the memories of the work of penance. He suggests that one reason May might want him to do this is to hurt True Name, and that she's even considering this means that she's a more complex individual than previously, since she used to just love everyone. End Waking gets upset because that would mean that, for him to be a more complex individual, he'd have to admit something other than his solitude and penance into his life. It's implied that they bone, after which End Waking jokes that, if he does merge down, True Name will have memories of that as well, to which Debarre says let her, at least she can have good things, too.
-
-With May out of the house, Ioan is anxious and True Name is mopey. They eventually pull themselves together enough to cook and eat dinner. May returns in the middle of it, acting a bit like a goofball, which she explains away as not wanting to fall back into just crying all the time as she had been around True Name. Over the next few days, May and True Name have a few more private conversations, and May heads out to visit End Waking a few more times. When she mentions to Ioan that they've been talking about the possibility of the merge, ey isn't so sure; ey thinks it might be a good idea overall just to help True Name live a more complete life now that the one singular aspect she focused on has been taken away, but that if she's to have a talk with Jonas, she probably needs to be in top shape to do so, not crushed under a century and a half of memories and all their conflicts. May reluctantly agrees, but when True Name goes on a bit of a rant about the position she's found herself in, May gets too frustrated and signals to End Waking to start the merge process anyway. True Name collapses under the weight of having to actually process those memories, and May breaks down on realizing what she's done.
-
-#### Part 3 --- Apprehension
-
-After a few hours, True Name is back up on her feet, but it's not until the next day that she's actually more with it. She requests that they head out to the lake, since she now has End Waking's desire for being outside (and hatred of being inside), where the three of them talk about what happened. She says she understands how May did this --- using all of her May powers to convince both End Waking to merge down and True Name to accept the merge --- and maybe even the why, but also says that May has essentially split her mind in two. It gets kind of tense, so Ioan asks what good memories she has now, rather than just all of the conflicting pride/penance. She lists a few things, but ends by thanking May for thinking of her. After all, now she has all these memories of her telling End Waking about not wanting her to die, too.
-
-True Name remains shaky and restless even after they return back home, reconciling memories of penance, but also of End Waking and Debarre's relationship. She was in her own on-again-off-again relationship with a red fox named Zacharias over the years --- they wound up more openly together (and more openly ruling) on Pollux, but on the home System, she kept the relationship at a distance ('lovers, yes, and perhaps even in love, but never partners').
-
-Through these discussions, Ioan begins to wonder at the fact that May has done just what ey was trying not to: taken a drastic step to fix someone else's problems for them. Ey starts to worry that, with this new problem of True Name being unhappy, she'll decide to merge down next. When ey asks, she admits that it had been on her mind until she'd seen just how poorly this merge had gone. Ey voices a worry that that'd mean that True Name would have May's memories of being with em.
-
-Eventually, though, everything builds up too much and she snaps at Ioan and May before stepping out to Arrowhead Lake. She returns a few hours later, looking dirty and scuffed up, stating that she's going to go camp there for a few days for the solitude. Ioan and May deduce that she's 'overflowing', and when ey asks, May admits that she's perilously close to doing the same. The next morning, she's not doing well at all, so ey goes to stay with *Douglas Hadje*, as ey usually does when she overflows with emotions. When ey arrives at Douglas's sim, ey breaks down with all of the emotion ey's been holding at bay throughout this crazy process.
-
-Douglas gets in contact with End Waking and Debarre to ask them to come visit, as Ioan isn't doing so well. The other three are a little surprised as Ioan talks through the story of May essentially manipulating End Waking into merging down and True Name into accepting. They talk through eir concerns about May potentially merging down, including True Name having memories of eir and May's relationship together, and the related worry that that might mean True Name would wind up feeling the same about em that May does. After wishing em the best, End Waking requests that Debarre step home with him for a few, where he requests some solitude now that the tent is done. Debarre figured this was coming and is already good to go. They're really cute. Debarre steps back to Douglas's to finish the conversation before heading home, where we learn that he was one of the 'reactive elements' that True Name thought might have been the one to try and assassinate her before she learned it was Jonas.
-
-Ioan sets up an appointment with eir therapist, *Sarah Genet* (who is also the therapist for all the Odists) to talk through much the same. A few days later, May shows up in the small hours of the morning and reunites with Ioan. She's not 'back to baseline' yet, but she's feeling well enough to have em around and doesn't want to be alone. True Name hasn't returned yet, but partway through eating dinner together, Ioan and May both get a sensorium message from her, just a brief glimpse of a well-dressed red fox sitting nearby out at the lake. They both hurry to the sim to find Zacharias taunting True Name for 'roughing it' out in the wilderness, calling her 'my little stink bug' and so on. He's a real shithead all around, and when May snarks back at him, he slaps her across the face. When Ioan tries to hit back, May gets them away from each other by forking so that her new instances overlap with theirs, the collision algorithms forcing them apart. He says he's out there to see if True Name is willing to talk now, but the subtext is that Jonas sent him specifically just to undermine her confidence.
-
-Back home, May and True Name finally explain what their huge conversation was: Zacharias is one of May's first relationship forks. Centuries ago, perhaps five years after Secession, back when she and True Name were almost exactly alike, May forked to form a friendship/relationship with someone who turned out to be a heavily modified fork of Jonas. This version of Jonas slowly won Zacharias over to his side, encouraged him to change, and then pushed him to get into a relationship with True Name. They kept this secret until a few years after Launch, when they dropped the news on her on all three Systems (Lagrange, Castor, and Pollux) at the same time. Jonas and Zacharias used that to set up different situations on each System: the previous status quo on Castor, the Guiding Council on Pollux, and this slow attempt to grind True Name down on Lagrange.
-
-Since Zacharias found True Name at Arrowhead Lake, that means that sim is no longer secure, so Ioan grabs a plains environment with a section of river off the reputation exchange and sets it up outside eir home so that True Name can retreat out there when feeling the need for solitude and no walls. This allows End Waking to visit a few times, talking with True Name and trying to understand where both she and May are coming from now that he's involved in this, too. In the process of talking, Ioan and May mention her vague thoughts on merging down, and True Name is oddly rather for it. She feels unbalanced, and if she were able to go into the merge knowing full well what to expect, what to keep or discard, and knowing that she could fork beforehand, she'd have a much easier time and might come out the other side far better. Eventually, the three of them say 'fuck it' and decide to go through with it so long as they approach it very carefully and respect Ioan and May's boundaries.
-
-#### Part 4 --- Reconciliation
-
-After a week of conversations determining what those boundaries are, including some discussions with End Waking about how this merge will differ from the previous one, May finally merges down. Despite what she said in *Toledot* --- a small lie to try and keep Ioan from digging too much --- May hasn't merged down since 2155, longer ago than the most recent of End Waking's merges, so it's a doozy. However, they're far more deliberate about it. True Name is kept cozy in bed rather than basically being dropped on the floor like before, she's allowed to fork beforehand, and May is there to keep her comfortable and talk her through anything that comes up. By that night, True Name is mostly stuck up in her head, but can speak haltingly. However, May doesn't want to leave her to fend for herself and is unwilling to sleep without Ioan, so they decide to expand the bed so that Ioan can sleep with May and True Name still be nearby. There's some gentle ribbing about keeping Ioan away from True Name, but basically everyone's awkward. Shortly before they fall asleep, True Name jolts upright shouting 'ey knows!', showing that True Name#Castor never passed on the fact that Codrin now knows AwDae's name. In the middle of the night, she rolls over and winds up curled with May, so Ioan wakes up hugging them both which is kind of awkward for everyone, and there's a lot of talk about that; True Name says that she can see what May sees in Ioan, can see a universe in which she loves em, but not how to get from this universe to that one, at which May requests that she call her 'May' instead of 'May Then My Name'.
-
-May visits End Waking, who calls Debarre back to talk through the merger and what it means, how it might help True Name escape from this lingering threat of Jonas. Debarre's pretty upset because now everyone's getting buddy-buddy with True Name and he still hates her. One upside, though, is that End Waking seems to be on the verge of moving on, dropping out of the clade and just becoming his own person, which would be more fulfilling for everyone.
-
-Back at Chez Bălan over the next few months, True Name has been calming down and processing well. She still needs silence and solitude as End Waking might out in the plains Ioan procured outside the house, and she still has that sharp political mind from True Name, but now she has all the emotions and need for constant touch from May. This plays out as her struggling to sleep alone, and while she gets some relief by sleeping curled up with her own fork as May taught her, she winds up crashing with Ioan and May once a week or so when the emotional need gets overwhelming. Still, it's well into April and they've all been cooped up since January, so they're all going stir-crazy. They finally talk Ioan into leaving, at least, since the chances of anyone being out to get em are low, so ey spends an afternoon at a library (because of course ey does) where, on a whim, ey contacts Serene to see if she can duplicate Arrowhead Lake for them, since the original isn't theirs and has been discovered by Jonas & co. She's mostly willing, but needs time to process. We get the sense that the clade is largely still wary of True Name.
-
-They talk May into getting out of the house for a bit to go get dinner with Debarre so that she can get away and Ioan can have some solitude while True Name ostensibly goes for a walk. However, True Name nods off on the couch and Ioan spaces out on the beanbag. After a bit, they get to talking and discuss how things have felt since the merge. They spent so long talking about eir boundaries that everything's felt super careful. True Name asks to sit by em on the beanbag (a cuddlesome prospect, if ever there was one) to test. If it's awkward, so be it, but at least they'll know. It *is* awkward, and neither of them are sure of what to make of it, but True Name explains more of how things feel from her end: she says she's of three minds, that she's True Name and she's May and she's End Waking, and that depending on the situation, one will feel closer to the surface than the others, so her being close to Ioan leads to her feeling more like May than True Name or End Waking. She catches herself getting despondent and decides that it's time to set a loose deadline of one month for that meeting with Jonas.
-
-Ioan sets up the meeting as a message, but Jonas requests to meet all the same, which is weird. He brings Zacharias along and, when the fox starts to get all snarky, stomps on his foot, making Ioan realize that it's all a show, using his power over the situation to try and shape how Ioan's story will look once he writes. Through eir discussions with the clade, though, Ioan guesses much of Jonas's plan ahead of time: his hypothesis is that societies that are different yet maintain the same system of governance are unstable when separated by space and time, so he's set up three different systems of government on the three Systems. True Name disagreed, so he decided to try and get rid of her. Jonas gets all frowny at em, but adapts smoothly and keeps winding Ioan up until ey gets frustrated and leaves. Back home, ey confirms the time and date of the meeting with May, True Name, and End Waking out on True Name's plain. Everyone's kinda stressed, but Ioan and May say goodnight and head inside, where they talk about whether True Name will keep living with them after this stupid meeting, deciding that she'll be welcome to as long as they can modify the sim to accommodate her need to be outside and give them more space apart if they need. May makes fun of Ioan for liking True Name, and ey admits ey's in the same boat as her, that she's so much like May that ey can imagine it, but has no idea what it would actually look like in practice.
-
-Jonas has requested that True Name's entire stanza be present, so May, True Name, and End Waking arrive with Ioan while the rest of the stanza --- including Zacharias --- arrive with Jonas. There is some weird chatter back and forth, that type of non-conversation that hides deeper political meanings before they get down to the talk. Jonas confirms that he's aiming for three political systems, and that he tried to get rid of True Name for disagreeing. Zacharias makes some quip and True Name dismisses him. He gets quite upset, so Jonas brings in the assassin that tried to get True Name to go after him, but May, of all people, intercedes, knocking the assassin out and telling Zacharias to leave. Jonas demands that True Name just disappear if she's to keep living, that she just curl up around her 'little Name thing' and not be seen again. It's hinted that he knows the name and has been using it to help keep the stanza in line. She says she's no longer True Name, that she's something else now, and he says it's not enough. Sigh. She changes as has been mentioned by others: forking repeatedly and using the mutation algorithms to change subtly with each fork, until she looks basically like Sasha (not Michelle) did before uploading, though she opts to shift species to spotted skunk, figuring that that'd be too recognizable. Jonas confirms that she needs to have a new name, and she chooses Sasha, which causes an uproar among the Odists and pisses Jonas off, and he kicks them out.
-
-At home, she explains that that set of events was the best they could have hoped for. The name Sasha, tied to the most sympathetic figure from the *History*, means that Jonas essentially can't touch her without being seen openly as the villain, even if it also means that she can't continue in politics. Instead, she's going to write a companion volume to the history of her account of things.
-
-Things settle down into a cycle of domesticity and visitors after that. Much of the clade visits, and the reactions are mixed. A Finger Pointing and her stanza are very happy for her, as is Serene, who builds their house into a copy of Arrowhead Lake, giving them plenty of wilderness and space for Sasha to build a tent similar to End Waking's. Zacharias pings, and they use the new ACLs to completely cut him off, which upsets Douglas, but May feels she can go no-contact with him in a way she couldn't with True Name. In Dreams (the psychologist of the clade) and Hammered Silver (the mother of the clade), however, both disown her, her entire old stanza (including May, who was very close to both of them), and the entire Bălan clade. This hits May really hard, and she has a brief stint of overflowing that night, pushing them out of the house to go stay in Sasha's tent, where they struggle with their own feelings on the matter.
-
-When May finally allows them back, Sasha requests some time to talk with just her about some lingering processing of Zacharias business, so Ioan and a fork of Sasha go for a walk out to the boulder at the end of the lake where they discuss the final outcome, Ioan's love for May, their complicated feelings for each other, and the book ends with Ioan once more wondering how this has become eir life.
-
+**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.”
@@ -298,36 +83,4 @@ Reed and the rest of his cocladists, fellow instances forked from the original u
What happened, and why is Earth being so cagey?
-
-Spoilers for Marsh
-
-On New Year's Eve, systime 275 (2399), after a sudden wave of *déjà vu,* *Reed of the Marsh clade* and *Hanne Marie of her own clade* realize that something terrible has happened. Once a year, all of the Marshans merge down to their root instance, *Marsh,* who enjoys being an aggregate of all of their lives. Reed finds that he cannot. Marsh appears to no longer be a part of the System. It's impossible to merge down and impossible to ping them or send any sensorium messages. He calls a gathering of the rest of the clade — his cross-tree cocladists *Lily* and *Cress,* as well as his up-tree instances *Rush,* *Sedge,* and *Tule* — to try and figure out what's happening. There is the loss as well as one year, one month, and eleven days of downtime. Cress and Tule arrive with their partner, *I Remember The Dry Grass of the Ode clade,* and Marsh's partners, *Fenne Vos of her own clade* and *Pierre LaFontaine of his own clade* arrive as well.
-
-Lily greatly distrusts Dry Grass due to her association with the Ode clade and quickly leaves. She feels that the Odists are responsible for much that is wrong on the System, that they are manipulative and conniving political figures. Her feelings are spurred on by having read the Bălan clade's *An Expanded History of Our World* (which comprises the story told in [*Toledot*](https://toledot.post-self.ink)) and her frustration with the Odists' attempts to justify their actions as told in the Bălans' *Individuation and Reconciliation* and Sasha's (*née* True Name) *Ode.* Reed, on the other hand, having accidentally merged Tule's memories wholesale, is struck by the sense of intimate familiarity with Dry Grass: despite having only met her a handful of times at various functions, he now has all of Tule's memories of their relationship and love for each other.
-
-As they explore the System and meet up with others from the Ode clade, they discover that Marsh isn't the only cladist missing from Lagrange. On exploration, they begin the process of estimating the impact on the System. The Marshans have lost 14% of their clade, while the Odists have lost apparently 2%. Reading the feeds nets them yet more information, with many discussing suddenly missing friends, lovers, and instances of themselves, with impacts ranging from 99.983% to none.
-
-The Marshans and a few others — Dry Grass and her cocladists *Which Offers Heat And Warmth In Fire* its partner *Hold My Name Beneath Your Tongue And Know*, Reed's partner Hanne, and her friend Jess — meet up for dinner to try and regroup. Lily promises to do her best to reconcile with the fact that the Odists are part of the clade's life. With the Ode clade's prior experience of their root instance, *Michelle Hadje* quitting nearly a century prior, they begin to talk about what life without Marsh will look like.
-
-Given Reed and Sedge's interest in what happened, they are looped in with a loose coalition of individuals working on the investigation. This includes a portion of *the Jonas clade*, more Odists, *Debarre of his own clade*, and *Selena of her own clade*. They contact phys-side to discuss with *Jakub Strzepek*, an admin, and *Günay Sadık*, a technician, who confirm that there was downtime and an unrecoverable corruption of about 1% of the 2.3 trillion cladists on Lagrange due to a System-wide crash, though they are cagey as to why. The group chooses Günay as their point of contact rather than any of the admin team while Jonas Fa demands that Jakub confirm, even if only privately, whether or not this was due to some malicious act.
-
-Dry Grass takes Cress, Tule, and Reed out to dinner, where they discuss the fact that Reed has been left with these conflicting feelings about her. He admits that the memories from Tule's merge have influenced his feelings about her, and she suggests that it remain an open conversation rather than something he either push down and ignore or keep only to himself. Reed also discusses this with Hanne, who says that she'll trust him to keep talking to her as well, and with Lily, who admits some frustration but also a willingness to keep up with the clade.
-
-Several clades form a group to interface with phys-side, including the CERES clade (the ones who lost nearly 70k instances) and just Günay. The tech confirms that there was a widespread contraproprioceptive virus attack. CPV had been used in the past to kill single instances such as *Qoheleth* and several instances of True Name, as it was required that it be tailored to a specific cladist or their immediate instances. However, members of a fundamentalist collective — a group of individuals living as a hive mind of sorts — named the Our Brightest Lights Collective found a way to create a CPV bomb that crashed 100% of the cladists on Lagrange. This event is being called the Century Attack.
-
-During the downtime, the System was restarted several times as various recovery attempts were made. An initial loss of 15% was eventually reduced to 1% with the help of members of the System Emergency Response Group (SERG) on Lagrange as well as on the two launch vehicles, Castor and Pollux. During the attempts to bring Lagrange back online, it was discovered that the number of unrecoverable instances was slowly growing, and so it was determined that 1% would be the maximum acceptable loss, and it was finally brought up for good. There were several fixes applied at this time, including patching out CPV, various ACL improvements, and a laundry list of other updates. Notable among the changes was the ability to merge cross-tree within a clade rather than just down-tree. Jonas demands that this be kept quiet due to the social changes it will have on the System.
-
-Another meeting, this time with *en4,* a member of The System Consortium, the collection of organizations that manage the L5 station, Lagrange, and the Ansibles used to upload individuals. They are also a member of a collective, the London Cohort of New Zealots, or LCNZ. They explain the history and reasoning behind the attack. The perpetrator, 8-stanza-1 (a reference to "The only time I know my true name is when I dream", the first line of the eighth stanza of the poem from which the Odists take their name) was recovered and quarantined. The OBLC has stated that they feel that, for every cladist, a life phys-side is denied entry to heaven. Given the 2.3 trillion population of Lagrange, the only solution was to destroy the whole System. *I Cannot Stop Myself From Speaking of the Ode clade* confirms this via her experiences interviewing 8-stanza-1.
-
-Dry Grass, the Marshans, and Marsh's partners visit the sim containing all of the collected core dumps — the remnants of a crashed cladist — of the unrecoverable losses. Dry Grass learns that her long-lived up-tree instance, *In The Wind,* a systech, was integral to the recovery efforts, but that she was unrecoverable in one of the final restarts. Lily angrily silences her so that the Marshans can have a funeral of sorts around Marsh's core. Lily, still angry, scorns Cress, Tule, and Reed for their association with Dry Grass and the other Odists. Vos, angry at the way she is interrupting the funeral of her dead partner, demands that Lily leave. Reed follows her and the two fight, with Reed striking Lily in the face. After they calm down, they return to the funeral where the remaining Marshans speak.
-
-As the others leave, Dry Grass asks Cress, Tule, and Reed to stay with her as she visits In The Wind's core, and then invites them home to peace and quiet. Reed is initially confused, but Dry Grass insists that she would like to be around those that enjoy her presence after spending time around Lily, who does not. While there, they process their respective losses, and Reed begins to process his growing, earnest feelings for Dry Grass. He also catches Cress and Tule up on the changes to the System, and they come up with the idea of possibly performing a clade-wide cross-tree merge in order to come up with someone who might be like Marsh.
-
-Reed returns home to Hanne and both speak about the ways in which they are beginning to grieve. He also brings up the idea of this reconstruction of Marsh, and Hanne expresses doubt that this will work, and if it does, that it might cause further grief. When he meets up with Dry Grass the next day on a date for lunch, the two discuss the sense of the world as it has become, Dry Grass's past as a systech — she had left due to the changing nature of the job, but her up-tree instance, In The Wind, remained to keep up on the work — and she also cautions him as to the potential for social pain as a result of this merger.
-
-A meeting with phys-side, happening concurrently, explores the ramifications of the Century Attack, keeping 8-stanza-1 locked in the DMZ, and the mechanism of the CPV device. Jonas and Answers Will Not Help goad Jakub to try and frustrate him into quitting as well as to make Günay feel better, and it's suggested that this is also to encourage her to upload where she can become a long-term asset. Discussions of potential memorials begin, as well as ceremonies both sys- and phys-side. After discussing information consolidation and control, Reed asks about the cross-tree merging and, after a demonstration between Jonas Fa and Jonas Ko, decides to disregard the warnings and go through with his plan to reconstruct Marsh.
-
-The process of the reconstruction is discussed, including the fact that this New Marsh will include all of the clade's memories *except* Marsh's concludes with each of the Marshans forking and merging into Lily's new instance. The merge itself (minus reconciling conflicts) takes several hours and is an immensely unpleasant process, but New Marsh comes out of it well enough. The clade invites Vos and Pierre over to meet them, but Vos, unnerved, asks the new cladist the last thing that Marsh had said to her. Without those memories, they can't say, so Vos, angered by what she sees as meddling and a shallow attempt at rebuilding her partner without her input, his Reed hard enough to knock him down and leaves, demanding no contact going forward. The Marshans leave to process what happened, and New Marsh renames themself Anubias and decides to continue on as they are, trying to live life as an amalgam.
-
-An epilogue follows (which is co-written by me and my partner) where, about eight months later, Reed has finally received word back from the instance of Marsh that lives on on Castor. He brings this letter along with him as he attends a play put on by Dry Grass's cocladists. The play is a metaphor for the Century Attack, and it leaves all distraught. After, he discusses the letter with Dry Grass and her cocladists *And We Are The Motes In The Stage-Lights,* *Beholden To The Heat Of The Lamps,* and *Time Is A Finger Pointing At Itself*. They discuss the different ways that they have learned to live as a clade without a root instance and the hopes they have for the future.
-
+**Read the summary [*here*](https://wiki.post-self.ink/wiki/Marsh/synopsis)**
diff --git a/content/gallery.md b/content/gallery.md
index 63344ed..24409c8 100644
--- a/content/gallery.md
+++ b/content/gallery.md
@@ -84,7 +84,7 @@ Over the course of publication and as funded by the backers of the *Mitzvot* Kic
- Fan art by Amoni
+ Fan art by Nat
## *Nevi'im*
diff --git a/content/stories/_index.md b/content/stories/_index.md
index 58d298c..bd15b95 100644
--- a/content/stories/_index.md
+++ b/content/stories/_index.md
@@ -60,6 +60,22 @@ h2 {
*CWs:* references to some of the grosser aspects of having a body.
+["For Old Times New": Sierra — 2207](/stories/for-old-times-new)
+: *JL Conway*
+
+ From old body to new, from old life to now.
+
+ *CWs:* none.
+
+["Hues": True Name — 2350](/stories/hues)
+: *Madison Scott-Clary*
+
+ After so much trauma, True Name sees the world in new hues...
+
+ *CWs:* None
+
+ *Spoilers:* lots of *Mitzvot*.
+
["Meeting of One": Ioan Bălan — 2309](/stories/meeting-of-one)
: *Madison Scott-Clary*
@@ -74,6 +90,22 @@ h2 {
*CWs:* none.
+["The Party": Scout At The Party III — 2323](/stories/the-party)
+: *Krzysztof "Tomash" Drewniak*
+
+ The Party *never* stops. There is a dog in this one~
+
+ *CWs:* none.
+
+["Prophecies": Slow Hours — 2401](/stories/prophecies)
+: *Madison Scott-Clary with No Longer Myself of [The Lament](https://cohost.org/hamratza)*
+
+ Slow Hours and If I Dream hunt down a missing cocladist, weeks after a loss.
+
+ *CWs:* discussions of suicide.
+
+ *Spoilers:* references to the plot hook of *Marsh*.
+
["Reading": Rye — 2273](/stories/reading)
: *Madison Scott-Clary*
@@ -81,6 +113,20 @@ h2 {
*CWs:* none.
+["Scan": (no date info)](/stories/scan)
+: *Voksa*
+
+ *Scratch* — Something's gone wrong...
+
+ *CWs:* surgery, mild body horror.
+
+["Shared Moment": Ioan Bălan — 2326](/stories/shared-moment)
+: *Madison Scott-Clary*
+
+ An exploration of the sensuality of sensorium play between skunks and Bălans.
+
+ *CWs:* vague description of sex.
+
[*Unintended Tendencies*](https://jessfluf.itch.io/unintended-tendencies) — available on Itch.io
: *JL Conway*
diff --git a/content/stories/for-old-times-new.md b/content/stories/for-old-times-new.md
new file mode 100644
index 0000000..e3432ab
--- /dev/null
+++ b/content/stories/for-old-times-new.md
@@ -0,0 +1,502 @@
+---
+title: For Old Times New
+author: JL Conway
+character: Sierra — 2207
+type: story
+---
+
+
+
+I do not know if it is a busy day at the Ansible clinic, I've never visited one before. I have no expectations because I do not know what to expect, though for some reason or other I was expecting the standard cost-saving minimalism you find in hospitals and state-run doctor's offices. Plastic chairs bolted together and poster print photographs of imaginary happy patients with their imaginary patient doctors having meaningful conversations about things.
+
+The linoleum floor here does not surprise me, but the comfortable furniture does. I have no complaints for any comfort offered. One whole wall here covered with a mural of the L5 station, the others cream colored and decorated with prints of paintings of landscapes. The individual check-in booths with their standing chairs are nice, fabric-wrapped barriers and a terminal with a contact bar so you may connect. I can feel a few eyes on my back as I gradually make it to the one with the universal wheelchair symbol hanging above.
+
+I take a moment to lean on the grab-bars and rehearse the motion in my mind before I can make the twist and collapse against the seat. Right hand on the contacts, left hand on the controller, I cannot maintain grip long enough to remain on the contacts. I move my hands to the other set of contacts, sliding them into the loosely glove-shaped containers. An air bag gently inflates inside to lightly hold my fingers in place and we can begin. The forms take a while to complete until the system can compensate for the shaking and determine the difference between tremors and responses.
+
+Yes, I understand it is permanent. Yes, I understand it is destructive. Yes, I understand nothing is perfect and I could simply die. Believe me I beg of you to be sure it is permanent and destructive, I have nothing worth saving on this mortal coil. Uploaded or dead matters not, release me from this. Send me up or put me down, I do not care where the elevator goes just get me off this floor. It asks me about my life, who I am, who I was. I tell it my dreams, then I tell it my reality. Yes, I have next of kin. Yes, I am keenly aware that my government has paid to be rid of me and will be rewarding my family for saving the VA money on medical care. Yes. I understand. I get it. I know. Yes. Yes. Confirm. Accept. Acknowledge. I have been off the receptor blockers for ten days. The neural interrupt implant has been disabled. Yes yes yes yes believe me I am aware. Thank me? No. Thank *you* for agreeing to put an end to this. I'd hate to have to disappoint everyone by going home.
+
+My hands are released from the contacts and I slowly withdraw, my right hip shifts so loudly that I have to stop once I'm standing and catch my breath. Push my glasses up, dry the couple tears that the searing pain has squeezed out. Someone meets me with a wheelchair, I gratefully fall into it. I explain the situation. They cart me to the next available upload room, skipping the line. I am grateful for the compassion: it is an unfamiliar experience lately. We are the children of radiation, the sons of the ozone holes, the fruits of chemical exposure and unstable genome interruption, the seeds of neural disorders and solar flares, relief, release, or silence is all my brethren and I ask.
+
+"Due to your condition, you have a twenty-five percent chance of scan failure. I don't like saying it, but we have to acknowledge it."
+
+"As long as I have a 100 percent chance of not leaving this room with a heartbeat." I shove myself up off the chair and onto the scanning bed to relieve myself of my clothes. "The odds of everything else don't really matter. No matter how this goes, even if it goes badly, consider it mercy."
+
+"Well. The procedure is going to interrupt your motor control and most of your senses. If nothing else, your last thirty minutes here will be completely without pain."
+
+"Sounds good to me."
+
+It is cold in here, the bed is cold, I am cold, but I was shaking anyway. The only warmth I feel is the searing pain radiating from my joints, clouding my thoughts. I lay back on the table and rest my arms and hands into the contact retainers. One of the workers clips something into my IV port. Most upload patients don't have those. I do. Saves them a needle.
+
+"This is a sedative and a reactive fluid. It should settle everything down for the scan so you don't have to fight to keep still."
+
+Oh. I know this sensation. It's warm and thick, I can feel it rush through my bloodstream. It smells like iodine and tastes like copper and sulfur, it feels like a CT scan.
+
+"It feels like an old friend."
+
+"Yes, but quite a bit stronger. We're going to attach to your spinal port now. The systems will start up once we've left the room, everything from then on is automated. There will be a loud beep at the point of no return."
+
+"Got it."
+
+"Anything else?"
+
+"Thank you."
+
+"Thank us from the other side."
+
+"Thank you even if I don't make it."
+
+"You'll make it."
+
+"If I don't, you're buying lunch."
+
+"Heh. Deal."
+
+They leave the room, the lights dim, and the scanners power up.
+
+There is indeed a loud, single-tone beep.
+
+"Send me, doc."
+
+The port in my spine powers up, I can feel it. You're not supposed to be able to feel it, but I can. I always can. Only for a moment though, then I don't feel anything. My god. It's wonderful. All I can smell is ozone and iodine, the machines hum and whistle, chirp and whirr. I appreciate the music they play, the deafening mechanical precision. My eyes buzz for a few moments, not that there is anything to see. I feel like I am being stuffed into a digital converter. I suppose I am. Then there is silence, darkness, nothingness. Complete, perfect nothingness. I seem to pause here for a moment, it doesn't feel like a bad place. It doesn't feel like anything. I could lay down for a nap, here, if I had a bed. Then suddenly I am somewhere again.
+
+I am in a room. It is a very gray room with very neutral lighting. The shadows are fuzzy and indistinct, as if there is an eclipse.
+
+I am alive?
+
+I am...on the floor. I push myself up, bracing for the onslaught, but there is nothing. I simply gather myself and sit up.
+
+This is a unique sensation. I can feel my fingers and my toes, there are no dead spots. There is no longer a plastic port embedded in my wrist, there is no metal in my hands, no terminal at the back of my neck. Either I am dead, or they repaired my nervous system in transit. I get up and look myself over, most everything else is the same. The scars are all there, the remains of tattoos, the bend in my nose where it was broken when I was seventeen and it never healed straight. I pull my feet beneath myself and stand, unsteady. Oh, this is unusual. I have not felt this in many years.
+
+"This feels like a memory."
+
+"I assure you it is not."
+
+"Did I make it?"
+
+"Indeed you did. Welcome to Lagrange, this room is called AetherBox#6135. I am facing away from you. Do you require clothes or may I turn around so we can speak face to face?"
+
+"Nekkid as a jay-bird and feelin' no pain." I turn around and indeed there's a person there, a few paces away. A brown-haired man with his back to me, in black slacks and shiny shoes and a doctor's clean white coat like the posters at so many offices planetside.
+
+"This is fairly new to me, if I'm being honest. I haven't been able to stand up straight in almost a decade. I thought the upload process brought all your flaws along and you had to learn your way out of them."
+
+"In many cases it does, but your nervous system was so damaged we were lucky to get a successful scan. It doesn't make any sense to bring someone right back into their suffering, but we've been doing this for a few hundred years so it only took a bit of time to do some remodeling before you were dropped in."
+
+"That would explain the momentary limbo."
+
+"It would."
+
+"I could've stayed there and gotten some sleep if you'd have let me."
+
+"I don't doubt it. If you'd like to get a little more comfortable, clothing is a matter of wishing you had it. Holding it in your mind, quite literally conjuring your favorite outfit. Smile a little, think to yourself: man I wish my favorite stuff was here."
+
+I pause to consider his words. What do I miss? Those comfy flannel boxers I got for Christmas that one year, my last pair of 501 blue jeans, plain socks and my favorite motorcycle boots. Yeah. That'd be a good start, and with my old leather belt. I reach reflexively for my dog tags, fingers running over the lumpy vertical scar in my sternum to find them. They aren't there, but then suddenly they are. I feel the cool metal chain slowly warming up to body temperature, flip the worn tags between my fingers. Release them and let them fall to my chest, stick my thumbs in the pockets of the jeans that showed up while I wasn't looking. There's no magic swoosh, no pixie dust. I'm just wearing them. I forgot to get a shirt. My last memory of being in my skin is being cold and I still kind of feel it. I want my nice, thick black and gray plaid flannel shirt...and there it is. I shrug my shoulders into it and realize I am not wearing glasses. I decide that I am fine without glasses, and fiddle with my shirt sleeve cuffs a little. Tap a toe on the floor, the solid tap of the hard soled boots. Good. This is good.
+
+"Alright. I think I can do this. You can turn around now."
+
+He does. I regard him, his brown eyes and neatly combed hair. Complimentary round wire-rimmed glasses. He regards me in my Saturday construction worker attire, blue eyes and graying brown buzz cut.
+
+"I'd say you've got it worked out."
+
+"Not bad for an old cripple."
+
+"Except you're not any more."
+
+"True enough, but it's still fresh."
+
+"You'd be amazed how many people choose to keep their differences, find pride in such things."
+
+"Everyone does their own thing. Proud of those kinds of folks, honestly not sure how they do it. But I'm enjoying the reprieve."
+
+"As you're well enough entitled. Would you like to move on with the tutorial?"
+
+"Sure. How do I change my avatar?"
+
+"It's not really an avatar, per-se, you can't just take it off and put on another one out of a saved file. However you can fork, replicate yourself, and in doing so imagine changes you would like to make and include those changes in the new you."
+
+"Then what?"
+
+"Well your fork is another whole person. Either you can be two people now, which costs a bit because every instance takes up space on the System, or if you're satisfied with the changes then the old you can quit and leave just the new. The new is a perfect copy of you, plus or minus the changes made. Consider it like evolution, each new copy is like another generation with a new adaptation. Except you get to decide if it's good before the prior generation quits."
+
+"So you can't just like...magic yourself into something else. But you can kind of imagine what you'd rather be and break it down into steps from this to that, and follow them like a bread crumb trail by forking each little change until you get there."
+
+"You pick up quick."
+
+"I was a SeaBee, once. Before the chemicals and the shrapnel and the everything else."
+
+"Sea Bee?"
+
+"Construction Battalion, the ones who go in and put the infrastructure back up so the civilians have somewhere to go after the various armies get gone blowing the place to hell."
+
+"Ah."
+
+"It wasn't glamorous, but family tradition and all. Everyone enlisted, but I don't have the head for killing people or the balls to be a field medic but I was crazy enough to drive a dozer into a war zone so that's what I did. They called me Mule back in the day."
+
+"Mule?"
+
+"Strong back, thick head, not worth a fuck in the sack. Birth defect an' all."
+
+"Oh for fuck's sake."
+
+"Eh. If the shoe fits, nail it on."
+
+"What?"
+
+"Horse humor, don't worry about it. I'm just glad I got out of it alive, if only barely. Though by the end there I was pretty well regretting the decision to survive it."
+
+"I gathered as much from the upload report. So, forking. It's just like coming up with a pair of pants, except you come up with a whole extra you."
+
+"Like, I wish there was two of me? Or, I wish there was two of me but the other one was built like I was still thirty-five and still had all his teeth?"
+
+"Something like that. Keep it simple at first, try for a plain copy."
+
+"Fuck that. Both barrels or don't load the gun."
+
+"What?"
+
+I try it without bothering to explain. Sure enough after a moment, there's another me. Same name and everything. Jackson Gifford with a bunch of numbers after the name so everyone knows he's a me but a different one. We look at each other.
+
+"Ain't that some shit."
+
+"Sure is," he says.
+
+"You look pretty good, old man."
+
+"Thanks, always said death would be an improvement. Didn't think I'd be right."
+
+"So now what?" I ask the doctor.
+
+"Well, the first you is the root instance. The oldest one. If you quit, you cease to be and now the new version is the root because he's the oldest now. If he quits, since you're older you get the option of absorbing all his memories, or some of them, or none of them."
+
+"But if I quit he don't get shit. If he quits I get it if I want it."
+
+"Yes. Because at the moment of forking, you two have perfect copies of all your memories. They diverge from the moment of forking."
+
+"What if we're different for a while, and I want to give him my memories and fuck off?"
+
+"Then he merges back down into you, you combine memories, and fork him back off again."
+
+"That's kinda complex."
+
+"Yeah it is." Says the other me.
+
+"It's just the way it works, helps keep things orderly. Also if you fork and don't like what your fork is doing that's too bad because he's his own person now, you can't make him quit."
+
+"Right."
+
+"It gets a little convoluted, but when you think of it like a tree you're the root instance and he's the first branch. If you fork a bunch and quit, then all your forks are like new root instances of very closely related trees."
+
+"But they can't merge back."
+
+"Not technically, but we've been considering cross-tree merging for a while now."
+
+"Sure." The new fork quits and I'm suddenly presented with the option to have all his memories. I take them, and suddenly I've got two perspectives of the same conversation. Just one of them is from a pace over there with myself in the room. That's fucking weird, but I guess it works.
+
+I fork again, but this time the old me quits, but we're the same person because at the moment of copying we're the same person, so nothing is lost except this vacuous self-image of being the first and most important version. I understand how the perspective follows now. I'm not dead, but the slightly older version of me isn't here any more. Also my hair is a little thicker and I've regained some of the muscle mass I lost over the last decade and a half. I also understand how two forks could live a long time and grow into different people, or fork into different people. I could leave me behind and be another me, and older me could go right on being the regular blend me, or fork off some other way.
+
+"I get it now. And if a bunch of forks hang out together, they're a clade. Right? I think that's what it said in the material."
+
+"Precisely."
+
+"Cool. What's next on the agenda?"
+
+"Reputation, which is basically like currency except not, except yeah. Also, how to get it, how to get around, how to check the news and the social feeds, and all the other shit."
+
+"What if I wanna take a nap, can I fork and have him listen and then merge down later?"
+
+"Technically, except you can't make your forks do stuff. They're a whole copy of you so they'll know what's up. You may as well just take the lesson as one of you and fool with that later."
+
+"Damn. Can't even pull one over on myself."
+
+The lessons are long, and somewhat convoluted. But there are slides at least. Flow charts. Shit I understand, directions I can follow. Give me a user manual and I'll work the rest out on my own, that's how I've done everything else so far in my life. Reputation as currency, traveling, public sims, private sims, walking between connected sims, building sims, so many things. Things you literally cannot forget now, ADHD or not, because your memory is part of a computer system and it's permanent. You can lose files at best, and even that takes effort.
+
+It's like they optimized my brain. Except...they kind of did optimize my brain. I can think clearly here, and that's really nice. If I want to multitask I can fork and we can all do all the things at once, get them done while staying on task, making new forks to take on the new tasks that pop up, and then all merge back down into me because there's way too many of us to keep track of at once. I don't like the idea of there being a lot of permanent different versions of me, but when I do fork the forks all agree that getting stuff done and then merging back is efficient and useful.
+
+I'm told that makes me a "tasker", rather than a "dispersionista". I have no idea what those words mean, it incurs another lesson. I suddenly feel like the idiot in basic training that causes a safety meeting for the whole shop.
+
+At the end of the day I find myself with a shitload of information and the ability to go home, because I have a home here. One that isn't at a hospital. It's an apartment with a view of wherever I want it to be. I tell them anywhere connected to someplace public is fine, because it'll be good for my head to be able to step out of a numbered unit, lock my door, and go outside into a city of some kind and do life where there are people and landmarks and things. They link me to a public construct that has exits to a bunch of public sims, so all I have to do is decide where I want to be in the city, what public sim I'd like to go to, and either exit via the permanently connected door to that area or just use the region guide to pick a place and use the multi-teleporter door for convenience. It means there's no need for taxis or public transit, though the latter exists because people like trolleys and riding on them.
+
+Eventually I get to thank the man who's helped me through all this stuff, and he tells me his name is Garyson. I can't fault him for that, my name is Jackson though I intend to maybe rid myself of it later and switch out to a nickname. He tells me that he understands completely, and that he is in fact a forked instance of a perisystem tech who only showed up in my sim because they were concerned that I may have required a personal touch to help through the tutorial as I was in such poor shape upon upload. He will be merging down as soon as I leave, and that if I happen to run into a person in a public sim who looks just like him but not dressed like a doctor, who recognizes me and who's name is Greg, that's his down-tree and I should consider him a friend. That's good to know. I tell him I might try to turn into one of the animal people that my friends back sys-side used to hang out online with all the time. They always seemed friendly, and it would be a good change of pace.
+
+He said he would keep an eye out for a big mule called Jackson, then. I told him to maybe keep an eye out for jack mule maybe called Sierra. He asked where that came from and I explained that one of my old call-signs was Saint because I regularly volunteered for mine-clearing duty on the D9 Sweeper. You have to be a saint or a madman to do that job and as far as call-signs went Looney and Lucky were already taken. So Saint it was, and Sierra Tango is alphanumeric for S-T. He laughed and nodded, and we exchanged system mailbox addresses so we can write.
+
+Then, finally, I got to go home.
+
+Home.
+
+I wasn't sure what to expect when I got there, just like I wasn't sure what to expect anywhere else in this world. But I focused and I left, and I found myself in a one-bedroom apartment with a little balcony that overlooks a street. It seems like a pretty nice place, the kind of place I can stay.
+
+After a while I realized that the action on the city street wasn't the sim I was connected to, but an illusion. It was a reflection of an actual public sim with real people walking around and riding trolleys and going in and out of the little shops. It's neat the kind of stuff you can find in the help files just by thinking about them. I guessed if I went down to the ground floor and went out, I would probably exit between two shops just like it was across the street. It seemed to be on a nice end of town, though I wager there really aren't that many shitty ends of town in a nice big System where money isn't real and crime is generally a fantasy carried out in dedicated areas for people with a specific anarchy bent. Doesn't matter to me, really. I'm not a cop and I'm damn sure not a soldier any more.
+
+The apartment is nice, the stove seems to be natural gas. I do like a natural gas stove, but find it funny that someone went to the lengths to replicate one here.
+
+Or maybe I did it subconsciously? This one is exactly how I remember my mother's old stove that had been in the family since her great-great-grandmother to be. I decide I want a drink of water, turn and open a cupboard. Cups are there, familiar multicolored plastic and glass.
+
+I pause. This is kind of unreal. Help files time. Sure enough, the apartment is generated on a static floor plan based on common housing plans from an old city on the east coast of North America. The contents of the apartment are generated instantly upon first usage of things such as closets and doors, so if a new resident reaches reflexively for a certain cupboard expecting something to be there, the thing will be there every single time thereafter. In some apartments a certain door may be a coat closet, in others a bathroom, in others a bedroom, or an exit to a fire escape, or some other thing depending on what the resident was expecting.
+
+So I check around. Cleaning supplies under the sink? Check. Pots and pans over here, baking sheets in the slide-out under the oven, spices over here, plates and dishes, yup. It all passes muster, everything is here. Open this door, closet. Door across? Bathroom. Hallway end door? Bedroom, nice and breezy. Must be a corner apartment, I'll take it. The bed is huge and fluffy, comfortable. The carpet is soft under my feet, the hallway floor is hardwood when I exit, and the kitchen has spontaneously gained an old familiar table and chairs with some flowers in a vase on a doily in the center. It's like I'm walking around in the perfect amalgamation of all the things I might find comforting.
+
+It's a little eerie, but upon realizing what's going on and that I can change it at-will the mystery flies out of it. The System itself is trying to help me get comfortable, and offers to set things permanently so I may adjust them manually later if I like. I tell it to hold off on that, I might need the help to make it different later.
+
+I check that the door is locked, amuse myself sitting out on my new wrought-iron chairs on the balcony. Watching traffic going by and munching on a sandwich made of ingredients I was really hoping were in the fridge. The apartment instance is apparently entirely self-contained, and doing basically whatever I like inside so long as it maintains the basic apartment format, costs absolutely nothing. Free food, water, power, heat, cooling, forever. If I would like to make a sim, I am welcome to do so and create a doorway to it from here if I so choose. I choose not to, this suits me just fine. This place feels like the old city in the north latitudes just a couple hours from the old farm country where I was born. Like a blend of my grandmother's house and my first apartment in town when I was discharged from the service.
+
+I get a ping. A letter from Greg. I didn't expect it to be so quick, but there it is. He apologizes for bothering me so soon, but can't help wondering if I have any intention to recreate any of my military experience here. I can only assume he's encountered the kind of dedicated old soldier types, and assure him that I am happily discharged. Though some of it is permanently burned into my being, the names and the memories, I much prefer civilian life and would have preferred even more if the wars never had been fought in the first place. It was just a decision I made when I was eighteen, go to the factory or the mines out of high school, take out a big loan and go to a big school, or get my education at the cost of dodging bullets. I just keep my hair short because it's low maintenance and wear my tags because they've got my medical information on them and I don't like things on my wrists. Not that I need them now, but old habits die hard. I won't be wearing hats with division patches any time soon, but he might find me at a firing range sometime because I always did enjoy marksmanship. I thank him for the links to the various veteran's organizations, and quietly discard them.
+
+We have a good conversation, going back and forth about various things, and I admit that while service took many of my formative years I'd much prefer old tractors and mending fences. He suggests that I should look into an old country sort of sim, I agree so long as it isn't full of the kind of idiots I went to high school with. He suggests we meet up someplace and hang out once I've had some time to settle in. I tell him I'd like that idea, but I need a few days to work on myself. This old body has too many old scars and bad memories tied up in it, I might have to build a new one. He sends me some links to groups that help new uploads refine themselves. Fully half of them are obviously run by furries. I send him my thanks, and promise to ping him in a few days. He says he'll do it too if he doesn't hear from me first.
+
+I remember hanging out with my sister's friends on the 'net after I was discharged, before my health fell off. Introducing myself as Mule, one of her friends paying an artist to do a picture of how I might look if I ever got an avatar like them. He was a good lookin' dude. Short gray-brown coat, short brown hair same as mine. Kinda faded to white around the front, around the mouth. Long ears, blue eyes like mine. Built like me but without the scars. No fucked-up nose, no mangled scars on his shoulder, no sternum-split marks in front. I stop in the bathroom mirror and take my shirt off, looking at myself. The reasons my shirts all tuck in and have sleeves to the elbows. Even if I'm not actually in pain, I'm full of memories of where the pain is supposed to be and that hurts instead. Maybe I should just relax, but I have nothing to do. Walk around town?
+
+Nah. Not yet. Let's have a look a this apartment and all my stuff. Let's get some stuff in my closets and drawers. I open my dresser drawers and stuff is already there, underwear and socks, jeans and shorts. Except the junk drawer, that one is empty. I guess collected useless random shit I can't bear to throw out has to be generated manually. That's fine. I stop to think about the links to the new upload assistance groups and kind of wish they were actual pamphlets. Now the pamphlets are in my junk drawer. First time for everything. I used to keep the envelope with the sketch in there too, the thick brown paper with the graphite and colored pencil mule guy on it. I can see it in my mind. I freeze, then look at the drawer and slowly open it.
+
+There is an envelope in there, plain manila, split at the end where I opened it with my pocket knife. I reach in and draw it out, the return address is blurry and illegible. That's probably because I don't remember what it was, but the artist's name is perfectly clear. I pull the contents out, two slips of cardboard with a paper between them. The piece, for as well as I remember it, snatched out of my memory and put into my two hands.
+
+
+
+ Sierra "Saint" Gifford — Art by Julian Norwood
+
+
+I have to stop and consider this for a while. This place is powerful. This place is *incredibly* powerful. Do not genuinely imagine the kinds of horrors that could be wrought with this kind of power. The kind of weapons that could be brought to bear.
+
+You can't just do that in public unless you have unrestricted ACLs for the area. Well, that makes things suddenly a whole lot less terrifying. That's good. Thank you again, new upload information stream.
+
+With my nerves mostly settled I finally find some time to just sit and go through the feeds, look at all the forums. Well, not all the forums but a bunch of forums. Tools to find sims, tools to find friends, tools to find sims where you might make friends. Public meeting houses, public meeting sims, the strange nigh-eternal road of nothing but coffee houses. At some point I started yawning, and finally noticed the passage of time while I was buried in exploring the world accessible from my apartment balcony. The air had cooled, the city had quieted, the sky had darkened. I headed inside and closed the sliding balcony door, walked around and turned some lights off, retired to the bedroom, set my clothes on a chair, and slid into bed. It feels so good, cool sheets warming with my body heat, wrinkling and conforming around me, the lack of any real sort of strong pain. Just some soreness that I was so accustomed to feeling at night that I seemed to have generated it for myself.
+
+The morning came with all the fanfare of warm sunshine through the windows, whatever default public sim my windows and balcony look out into is having a nice day. I push the windows open and let the air run through the screens, slide the balcony door open, make some breakfast. Eggs and sausage, fresh from the fridge. Part of me keeps trying to say the place isn't real, but the rest of me is quick to remind me that it doesn't have to include suffering to exist. Lagrange station is an actual place, we're on an actual machine, conscious inside that machine, living our lives in wonderland. Is that not enough? It apparently is, because the eggs and sausage are wonderful, the coffee is fresh and fragrant from my little single-cup machine with my little self-refilling spin rack of flavored brew cups. The part of me that was screaming "this can't be real" was doing the same thing when that rocket hit the dozer cab, and I know how that turned out.
+
+Shut the fuck up, stupid miserable disbelief voice. This is life now, I have free coffee and pizza for eternity. Suck it. Be miserable somewhere else, I can be alive here. I *am* alive here, and just to prove the point I'm gonna make it more unreal. I stand up and march over to my dresser, to my junk drawer. Withdraw the fliers, take only the furry ones with me, put the others back. Take the art with me too, I'll need that. Classes are six days a week, starting at 10am. Well, today isn't Sunday and it's basically shortly after sunrise. Is it the same time in every sim? Quick check. The digital flier link says the time displayed is referenced to your own local time, so regardless of what your time is if you make the hop over half an hour before you're pretty much guaranteed a start on the next class cycle. That's cool. I make a note for myself on how to check local time, and keep it on an easy-grab reference. It's currently five-thirty in the morning. Plenty of time to eat, get presentable, and get there really early and be nervous about it. Perfect.
+
+Eat, clean up, have another cup of coffee, shave, get dressed, inspect myself in the mirror. Feeling brave, gonna wear a tank top under this nice beat-up canvas jacket I got. Yep, everything is still there. Including the barcode tattooed onto my neck during basic training...ugh. Eh, fuck it. Gonna change my whole everything later, let's not dick around with this stuff on a full belly and with no help in sight. I wonder if I can take a photo for posterity. Yes. In fact I can take a selfie without the mirror. There's a quick guide right here on how to do camera perspective snapshots. Well isn't this handy. Take a few for posterity and...oh look at this. Your original upload is hard saved as a backup in case you fuck up real bad, so you can always revert as long as you don't do a final all caps Quit because that wipes you clean off the System unless you have surviving forks. Good to know. Do not use the big Q command, that gun is always loaded. Well, the photos are already taken. I can paste them in an album or something later, or delete them if I get tired of them. Probably just file them off somewhere in case I forget. Yeah.
+
+Cool. I am 100% ready to go. Let's hit this meeting, learn about how to do the big thing.
+
+Can't wait for my sister to upload, I know she wants to. All her friends are going to upload too now that it doesn't cost any real money beside cleaning up your affairs before you leave. She'll shit a brick just coming up here and finding my ass walking around looking good feeling good. She'll have an absolute fit if I'm a goddamn actual mule when she gets here. This is gonna be great. Look over the fliers, let's see. Predators inc yeah no, bird's nest, dragons and fantasy promising but not right let's see yoooooo this one is at an actual farm. Fuck yeah. Focus on the location and...bang!
+
+Got it in one!
+
+Just unlatch the gate from this little landing area outside the fence and...unlatch the gate. The gate. Unlatch...shit. It's locked. Is the flier old? Did the place close? Take a look over the fence, no there's definitely some stuff happening in there. Hmm. Oh there's a sign. Read the sign, moron. Gates open at 0930 daily. Cool! That's not long to wait, it\'s only...0715.
+
+FUCK!
+
+God damn son of a bitch why do I always fucking do this. I throw the pamphlet on the ground and flop down, leaning my back against the gate. Shit fuck stupid mother fucker went running out of the apartment and can't do shit for two hours. Goddamn. I poke my foot out and drag the flier back over to myself, dust it off and cram it into my pocket. Pull my art out of the big inside pocket of my coat, look at it. Hmm. Soon enough. Tuck it away. Pick a long stem of grass that's gone to head, chew on it to keep from mumbling too much.
+
+Click.
+
+Wuh?
+
+Waugh!
+
+The gate opens behind me and I fall flat on my back. Oof. Look up. There is a leg next to my head. A hoof. A very big hoof. Attached to a very tall...mare. I think. Reddish chestnut lookin' horse lady. I smile sheepishly.
+
+"Hi."
+
+She looks down at me a little sideways and steps back. "Can I help you? We don't generally even start taking early birds till nine."
+
+"Oh! Yeah sorry about that. It's just..." I sit up and scramble up to my feet, and I am still looking up at this woman. I am five foot eleven now that I can stand up straight. God damn she's tall. Dig the pamphlet out of my pocket. "Is this the right place? I kinda generally get up before the crows and I got all pumped up to get out here even though it says right in the pamphlet you're not open for another couple hours. I ain't got shit else going on so I said fuck it I'll just hang out till whenever. Nice sunrise and all."
+
+"Sure is. So you're here for the new upload species change classes then?"
+
+"You bet."
+
+"Cool. Well since I'm already standin' here and curious, what'cha supposed to be? Wait lemme guess. You're here early as shit, rarin' to go and starin' me over like ya seen a ghost. Collie? You got the energy for it."
+
+"Nope, not even close."
+
+"Huh. Ram? Bull?"
+
+"Nope nope."
+
+"Oh god. Stud?"
+
+"Nearly, but no."
+
+"Uhh...gelding?"
+
+"Not exactly closer, but sort of."
+
+"You're a fuckin' jack? We don't get a lotta donkeys."
+
+"Damn near!" I grin big and yank the art out of my coat pocket and hold it up for her. "Mule! Mammoth Jackstock cross."
+
+"Well hot shit. So then you ain't up here tryin' ta get friendly with the cows and the mares and all the cute little sheep huh?"
+
+"No ma'am. Thick head, strong back, not worth a fuck in the sack."
+
+"Oh my fuckin' word you're a hundred percent for real." She whips around and cups a huge hand alongside her mouth and hollers toward the farmhouse. "HEY ANNABELLE!" She pauses. "Yeah I know it's typical yeah she's a Holstein don't say a damn word about it she's the sweetest lady you're ever gonna meet."
+
+A face pops into the kitchen window, a bovine face. "HEY JENNA-MAY WHAT'S UP!"
+
+"YOU AIN'T GONNA BELIEVE THIS!"
+
+"AIN'T GONNA BELIEVE WHAT?!"
+
+"I FOUND A MULE ON THE WRONG SIDE OF THE DAMN GATE!"
+
+"WE AIN'T GOT ANY MULES ON THIS FARM JENNA-MAY!"
+
+The mare grins. "This is like a daily ritual except usually I'm yellin' outta the henhouse at her 'cause we got the dumbest fuckin' rooster." *ahem* "WELL WE GOT ONE FOR TODAY I RECKON!"
+
+"WELL GOD DANG BRING HIS ASS UP HERE THEN WE GOT SHIT TO DO!" Heh heh. "You heard the lady, lock the gate behind ya and let's get going. You mind a little farm work? I bet we can get you fixed up in about an hour, put a round 'a breakfast in you and you can help herd the first round of newbies for the day."
+
+"Well I already ate breakfast so you don't have to-"
+
+She cuts me off. "Yeah yeah sure but judgin' by your skinny ass and the fact I'm lookin' at a drawin' of an eight foot jack built like an Allis-Chalmers I reckon you gonna be hungry by the time we get done working you over. Speaking of, you any good with equipment? We could use a reliable hand around this place and you're covered in scars and got a barcode on your neck."
+
+"Well ma'am you got the right guy 'cause I was eight years Construction Battalion 'til someone hit me with a rocket. I can run anything from a pallet jack to a wheel loader to a long-reach excavator to a D9 dozer and most anything else that moves if you give me a little time to fuck with it."
+
+"Damn, son. Your head ever make it back home?"
+
+"Shit that's one way of putting it. I'm happily retired but the shrap and the chemicals fucked me up so hard the government paid me to upload 'cause it was cheaper than medical support."
+
+"Fuck me that's rough."
+
+"Sure is. I was in a bad way when I uploaded but it's been night 'n day so far. Literally like about 24 hours." We walk up to the farmhouse together, I'm kind of amazed to see actual chickens running in the yard and regular fluffy sheep milling around in a pen waiting to be let out. Not to mention the sheep-woman dressed like a shepherd, crook and all, tending to them with a rigidly attentive border collie at her heels.
+
+"This place is kind of amazing."
+
+"We like it. So barely 24 hours on the System and you've had enough of humanity already."
+
+"I've had enough of a lot of shit, really. I'm sick of looking at this messed-up body in the mirror, my sister and all her friends are furry type folks and I got to hanging out with them. I just called myself Mule online and one day she got me that picture as a gift. I always thought it was cool and when I finally got up here I realized I don't know anybody except other vets and damn it I don't wanna spend eternity sitting around talking about the wars. I wanna do something decent with myself, something besides eight years catching bullets and building roads. They're gonna try to upload over the next year, so I asked my friend Greg from the upload room about some stuff and he sent me some links. I figured fuck it, let's do this whole new life thing for real."
+
+"Well if you're tired of it we can sure work on getting you changed up, bet we can even get some farm tags to change out for them dog tags, put whatever name you like and all that shit on them and once the tats are gone and you're a big ol' boy ain't nobody gonna be brave enough to ask."
+
+"Sounds good to me. Maybe I won't need that little apartment in town after all. Sure is cozy though."
+
+"Aw that ain't no thing. We'll just bug systech and switch your exits, turn it into one of our resident bungalows here. You won't even have to redecorate, but it will turn your balcony into a porch if you got one of the regular ones."
+
+"Cool. So when do we start?"
+
+She hands my art back to me and I stick it in my coat pocket. "Right now. I'm gonna get you into the front room and I want you to start real slow on the forks, no species stuff till I get back. Just frame up some. I just have to run the chickens out the coop and collect the eggs and I'll be back in to walk you through the hard part."
+
+"That easy?"
+
+"Man you've got reference material. That easy." She turns to the kitchen door after we get into the front room. "Hey Annabelle? I'm gonna leave him in here to get started changing up, stick your head in if he starts yelling or I get hung up in the yard or anything. He's got a reference but he's super fresh at it."
+
+"You got it Jenny-Hay."
+
+"C'mon not in front of the new guy."
+
+"Sure thing, mm-hmm. You just get on with your chores we'll be just fine. Sugar you need anything while she's out you just holler or thump on the floor real hard or somethin' an' I'll come help. 'Kay?"
+
+"Yes ma'am I can do that"
+
+"Oooh he says it proper."
+
+Jenna-May rolls her eyes and laughs, then heads out. "I'll be back quick as I can."
+
+"Don't you go breaking any eggs trying to rush!"
+
+"Yes, ***mom***."
+
+"Don't you sass me young lady!"
+
+"I'm fifty years older than you!"
+
+"That don't mean nothin'!"
+
+I laugh. They are in fact shouting back and forth from the farmhouse to the hen house. Oh well. I slide my coat off and toss it over a chair, then peel my tank top up and off. Hmm. I can feel my own ribs really easy, guess all that time sick really did put a hurt on me. Anyway, time to fork. My first attempt arrives looking just like me, but minus the neck tattoo. I can do better. He quits. I fork again, confirm with old-me that all the tattoos are gone. Cool. He quits, I fork. Got a couple scars gone, put on some muscle mass. It's weird to think about, being me, then forking out of myself into a new me, leaving the old me there, but I kind of have to do it this way or I don't really get anywhere.
+
+I didn't even hear her come in, just been bouncing back and forth between selves, making gradual progress, trying not to overdo anything or mess up real hard. I figure I'm pretty well taller and probably a hundred pounds heavier. She gets my attention as my last fork quits, and I realize I'm still looking up at her if not so severely.
+
+"Not bad for a newbie. I'm gonna help you speed it up a little though. I want you eye to eye with me in two forks, and more shoulder. Make the jumps, don't worry about your clothes. And start thinking ungulate. You need to rearrange a bunch of shit. Your whole skull, your feet, parts of your hands, and anything else you got a thought for. Don't worry about your clothes, they'll change to fit, 'cept the ones you're not wearing, we can remake those later."
+
+I pause to think, and give her a nod. Look down at the drawing. Yeah, that guy's belt is stock fence high. He's big, I gotta be big. I did say Mammoth Jackstock cross. I look up at her, then down at the art, close my eyes, really form it up in my mind, put some effort into it, and fork out of myself.
+
+"Whoa, shit son I think you worked it out."
+
+I open my eyes and realize I'm a couple inches taller than her and built to boot. "Oh, fuck." Hey whoa my voice is more resonant too, that was unexpected. My proportions are off though, but I fork a few times, each time hopping out of myself until there's eight of me with her and I've got a nice fuzzy coat starting to come in. One more time and my nose is starting to drift away from my skull and reshape in the process. I look to her, she nods. All my other forks quit.
+
+A few more forks in she pauses me, takes my hand, and holds it up to her own face. "I know it's tough to imagine how it's gonna feel, so I want you to get the contour of my head. You're gonna be a big boy with a big straight Roman nose and a stand-up mane. Get your ears up, get them long, keep bulking up. You got the frame but not much on it. Think farm hand, not body builder."
+
+She's amazingly patient as I spread my palms and feel the way her snout runs off the front of her skull, the lines of her jaw, the muscles, her neck. I don't go any lower though, we're barely friends after all. I step back, I fork again. That didn't work. The fork quits. I fork again, pulling out of myself with a more structured face. She gives me a nod, then flexes at me and points at her bicep, and smirks. I roll my eyes and get back to work. Ten more forks and I think I've gained at least a couple hundred pounds but I still look kind of lean and starved.
+
+"Barrel chest, brother. Lots of neck. You'll get there. Big hooves too, start working on those." She holds her hand up to mine. "You should be bigger and rougher than me, I'm a quarter horse mix and you're a damn draft jack."
+
+Keep forking, lose the boots. The transition from feet to big heavy hooves is a little jarring, but the shape change forces my body to rebuild the shape from the thighs down and it changes the musculature all the way up my back. My ears come up, my hands get thicker, my everything gets thicker. I picture it in my mind. Not steps any more. Just picture the whole guy, the entire jack. The big \`ole boy. Hold it, hold him in my mind. Be him. The next fork is a big leap, I stumble back and lean against the wall. My old self even looks surprised.
+
+"Hot damn, you did it. I did it. Well, I guess you did it. You get what I mean."
+
+"Yeah. We good?"
+
+He nods and quits. I look at her. "Yeah?"
+
+She gives me a once-over, then gently swats me in the belly. "Put some fat on, you're a farm hand."
+
+I laugh and oblige, a few forks later and she has me turn around. She nods approvingly, all my other forks quit.
+
+"Good?"
+
+"Good for now. You look proper, but if it were my doing I'd do your mane up taller. Jacks look good with s'more fuzz between the ears, but that's just my thought."
+
+"I'll let it grow out naturally and see how I like it."
+
+"Compromise, that's how you get along with the boss mare. So how about it, I know what your system name says but what's your name-name?"
+
+"Oh, uh. Well. I was thinking Sierra."
+
+"As in like the Sierra Padre range?"
+
+"As in Sierra Tango. My old crew used to call me Saint, Sierra Tango is alphanumeric for S-T."
+
+"Ah, gotcha. Hmm. I mean it's your name, but would you hold it against me if my brain hangs onto Sierra Padre? Because you're kind of a fucking mountain."
+
+"I'll deal with it." I pick up my size-medium tank top and hold it up, realizing exactly how fucking tiny it really is against me now, and snap it away. My jacket though, I conjure up an appropriately sized new version and fish my stuff out of the pockets of the old one. Slide it on, re-pocket my art and the pamphlet, and snap the tiny jacket away. One hand goes reflexively up to my tags, which have sized up with me because I wasn't thinking about keeping them standard. Oh well. I vanish my boots and socks, looking down at my new massive hooves and learning to work my equally new tail. "So uh, what next?" My ears brush the ceiling and I realize since my legs changed now I'm near a full head taller than her.
+
+She gives me a grin and looks down too, and hmms. "Well. We'll worry about getting you fitted for shoes later, the farrier will be around this week. You can go natural till then, won't hurt anything. Just don't go splitting them on anything or being stupid."
+
+"No guarantees on the stupid part, I can be dumb as a rock sometimes."
+
+"Well at least you're aware of it. Breakfast?"
+
+"You were right again. I could eat."
+
+She steps into the kitchen and motions me to follow, so I do.
+
+"Miss Annabelle, I'd like you to meet our new hire, Sierra. Sierra, this is Miss Annabelle."
+
+"Ma'am." I give the pleasant-seeming Holstein lady a nod as she turns around. "Pleasure to meet you."
+
+She leans a spoon in a pan and turns to see, expecting someone at eye level and instead looking me in the chest before looking up. "Well hot damn Jenna-May you said you hired a new mule, I didn't realize you meant a daggum full blown big boy capital J Jack. You fixin' to come on full time and move house?"
+
+I can't help but hem a little and run a hand through my hair, pushing my ear back with it. "Well ma'am I'm new around but I've got two hands and nothin' to do and plenty of time to do it. Miss Jenna-May said a bit about moving my place into a bungalow or something, but I'm not gonna put anyone out for the trouble at least 'til I get familiar around here."
+
+"Oh you'll fit right in just fine if you keep acting like that." The chestnut mare grins. "Now sit your butt down and eat some breakfast. Miss Annabelle runs the house and the cows. You saw Dottie heading out with the sheep when we came in. I run the rest of the herds, the chicken house, and the gardens. I'm starting you on the hay fields, the storage barn, and the equipment shed. The guys have been saying we should quit using constructs to do all that but we just never found the right hand 'til I heard you cussing my gate. We can keep a couple around as long as you need the help, but I'll show you how to bring 'em on and dismiss them just the same. The dogs and the other farm hands will be here with the early bird gate at nine."
+
+Miss Annabelle throws down a traditional Southern breakfast the likes of which I've never seen, and if I'm being honest I packed away more biscuits, gravy, hash browns, ham, eggs and toast in one sitting than I figure I could've done in a whole week before. Never in my life have I ever seen someone so happy to watch someone pound back a meal, but it sure did happen. She got real bubbly and promised to keep me fed if I promised to work it off every day and I'm not sure what got into me but I kissed the back of her hand and told her she had a deal. I thought she might pass out and I'm fairly sure Jenna-May about died on her feet when I did it. Later on I was informed that she's recently separated and gets a little hot under the collar for gentle giant types. About that same time I found out that Jenna and Dottie were lesbians and both older than either of us by a long shot.
+
+Well, I promised to be cool around the farmhouse and try not to charm her out to the hay barn even by accident. I wasn't sure if I was expecting the cow shed to be full of a gaggle of cow girls or what, but sure enough what came out the gates was about a hundred head of mixed beef and dairy cattle. The regular kind you could still find back phys-side here and there. A half dozen dog-folks of various working breeds arrived shortly after breakfast to pick up various jobs around the farm since the business of precision forking had picked up and Jenna-May has been spending lots of time teaching classes in that, as well as good farming and gardening classes for humans interested in getting their hands dirty. Surprising to me, but not incredibly so when I considered how many of my old squad came from absolutely barren chemical flats and deserts.
+
+I was talking to the young gearhead of a dalmatian that had been trying his damnedest to get their ancient baler put back together before it was time to mow again, when I heard Jenna-May holler at me to please go open the front gate and lead the students to the schoolhouse barn by the farmhouse. It was already getting warm for the day so I left my coat in the equipment shed and headed over.
+
+She had told me not to tell anyone that I had just changed myself up that morning, since it doesn't go quite so easily for most folks. It seemed simple enough to me, and I was startled plenty by the excitement of the dogs to have a jack around the farm. I was not prepared for the reactions of a dozen furries in their twenties and half a dozen gardening ladies in their fifties to the sight of me strolling down the path in just my blue jeans and belt. It was also about that time that I realized the various dog boys they had working around the farm were in fact not particularly small, but rather that I was probably never going to fit into my apartment again. Jenna-May promised she'd ask her sim-building friend to come by and help me put something up next to the tractor shed this week. Until then I was welcome to sleep in the hay loft.
+
+It was a few days later when I was getting ready to meet a nice skunk woman about erecting a log cabin just big enough to be comfortable for someone like me, when I got a mail ping. Sure enough it was Greg. I had meant to send him a message later but as usual he got to me first. Just asking how I was and what I was up to, if I had found anywhere to be or met anybody. Well I snagged Jenna-May and a couple of the dogs for a photo by their big orange Massey loader tractor and sent it to him with a "Doin' just fine, think I'll make it out here." He sent me a big laugh back, "Guess you made it out there and never left, huh? I figured they'd help you out but I didn't guess they'd bring you on as hired help! You look good! I should come visit."
+
+I told him he's welcome any time, I should have a new house put up by the end of the week 'cause I don't fit in the apartment any more. He said he'll send over a few housewarming gifts and swing by on Saturday.
+
+You bet, friend. I haven't felt so alive in twenty or thirty years. I owe you one.
+
+
diff --git a/content/stories/hues.md b/content/stories/hues.md
new file mode 100644
index 0000000..5b32a53
--- /dev/null
+++ b/content/stories/hues.md
@@ -0,0 +1,156 @@
+---
+title: Hues
+author: "[Madison Scott-Clary](https://makyo.ink)"
+plainAuthor: "Madison Scott-Clary"
+character: "True Name — 2350"
+spoiler: "*Mitzvot:* high"
+type: story
+---
+
+I see the world in new hues.
+
+I see Ioan and May Then My Name sitting together on the bed, cross-legged and touching. I do not think they even realize that they are doing so, that they have set their hands next to the other's, that their pinky fingers overlap.
+
+I see Ioan with eir sun-lightened hair and sun-darkened skin and marvel the ways in which the thirds of me see this: one third has cataloged it as a unique pointer to a past of climate refugees that I will never know, one third judges the ways in which ey blends with eir surrounding, and one third... Well, down that path lays too many conflicts.
+
+I see May Then My Name trying to hide sleep-addled emotions beneath pillow-mussed fur. I see the way she remains at all times conscious of her body, its extents, its softened boundaries. I see the way some small sliver of her mind continually runs through a checklist of appearance she will never even admit to herself, a litany of reassurances that she is the right level of cute, the right level of innocent, the right level of earnest.
+
+I remember that checklist more clearly than she does, I think. I remember thoughts flickering to whiskers — bristled or no? — to ears — should I perk them? — to weight — a little slouch will show as rolls, but in a good way — and back again.
+
+And I see myself recorded in their eyes. I see the way Ioan is buffeted about by the competition between eir need to help and eir growing confusion over who I have become. I see a tempest swirl in May Then My Name\'s eyes.
+
+"Heading outside?" Ioan asks.
+
+I am struggling to keep myself present. My mind is a jagged mess of tangled wires and unfocused lenses. I nod. "Yes. I will need an hour or so of nothing but the morning and the grass."
+
+"Of course," ey says.
+
+May adds, "Take the space you need."
+
+I feel something akin to love press flush against something akin to shame. I hide it with humor. This is a new thing\... "Thank you, dear. If you cook breakfast, I will refrain from telling Ioan embarrassing stories."
+
+"Asshole." She laughs. "Where did this humor come from?"
+
+"Your guess is as good as mine, at this point."
+
+I see the world in new hues as I step outside, holding my coffee close against the chill of the morning. The deck is cold beneath my paws, and the sim feels fresh, new in a way that it is not to any of the three of me.
+
+I do not linger. I have a task.
+
+Instead, I step carefully and deliberately down the stairs from the balcony and into the cool and dew-heavy grass. This, too, is cold on my paws, and I remember a conversation with Ioan some weeks back about the joys of winter. I remember it as though around a corner: indistinct. I remember it as though overhearing it in a quiet bar: murmured.
+
+The remembered conversation is in place, settled alongside memories of me working on the tent with Deberre and memories of me working alongside Zacharias and Jonas.
+
+It is a dangerous memory, for how innocuous it is. It is too hot to touch directly just yet, for neither May Then My Name nor I anticipated just how many of her memories around Ioan are love-colored, just how many bear the new hues through which I see the world. There is so much love in that conversation, so much love in em saying, "Well, if you ever wore shoes..." That aposiopesis is an I-love-you directed at May Then My Name.
+
+I remember it directed at me.
+
+It is dangerous, and it will be dangerous work to grapple with it. All of these memories are in place; it is just the weight of conflicts that I am left with.
+
+The dew from the grass quickly soaks my feet, and I can tell my pads will be numb by the time my task is complete. As it is, the fur all the way up to the hems of my slacks is wet, and my slacks themselves halfway up my calves are already soaking through.
+
+But I have a task before me. My pace is slow, deliberate. My breath is bated, anxious. My mind is keenly focused on maintaining a distance from the bruised cloud of conflicting memories in order to make it through the coming conversation.
+
+I see the world in new hues. The pale green and tan of the grass makes me crave anise cookies. The delicate blue of the sky — so much more delicate than I remember! — makes me thirst for cool water. The dull green of the tent before me, shining with the same dew that marks me, makes my stomach ache. I have never seen the world like this before.
+
+My pace is slow and deliberate, but it is not sneaky. I make as much noise as is appropriate, and what is appropriate is the sound of footsteps. I know how to muffle those, how to set the sounds I make aside, both through a cone of silence and through the bushcraft I have picked up through someone else's hard-won knowledge. But right now, the morning needs footsteps.
+
+True Name needs footsteps.
+
+The nose that pokes out of the tent to greet me when I am a few paces away is my nose/not my nose. The face that follows is my face/not my face. The dark brown of the eyes, the black of the fur, the white of the mane, all mine/someone else's.
+
+I have never felt this split after a merge before. I have never felt this split before, *period*, not since I was Michelle and also Sasha, names that are not my own. I am still True Name as well, yes?
+
+Am I?
+
+This skunk before me looks out into the world with the same eyes I have, and yet they do not see the same hues. She bears the same exhaustion on her face from the same sleepless night I have had, and yet she is not tired for the same reasons.
+
+I wave a small camp chair into being before the fire pit she has/I have built, set my coffee aside, and begin the task of lighting the fire for us.
+
+She watches from the tent, silent.
+
+The crack of the tinder on my paws echoes both familiarity and unfamiliarity within me as I break it down. I have done this so often before — daily for years and decades — and yet one third of me has not started a fire more than a handful of times in all that time.
+
+I build my small pyre, and still the skunk in the tent watches, silent.
+
+Finally, once the fire licks up along the tinder with washed out tongues of flame, I pick up my cup of coffee and offer it to her. We both need it, but she deserves it more.
+
+She nods warily, eyes never leaving me as she steps from the tent to accept the mug, dreaming up a chair for herself across the fire from me, and together we build it up the rest of the way, at least enough for an hour's warmth.
+
+"You look well," she says at last. Her tone is tired above all else, but beneath that exhaustion lies something uncomfortable.
+
+I nod, marveling at the subtle intonations, marveling at the way my heart reaches ever outward along lines of interpersonal relationships. I marvel at how much those three words make that ache in my stomach twist into a sharper pain, an anxiety, a need. I need to address this. I *need* to address her discomfort, her exhaustion. I *need* to take her all up into my arms and let her warm herself against me, be the safe space for her to weep. I *need* to prove the love for her I cannot avoid in myself.
+
+I see the ways in which she would resent that if I did so now, but then, I see the world in new hues.
+
+So I just nod and instead say, "I am tired, but yes, I am well."
+
+She looks down to the fire, sips her coffee. "Good."
+
+"How are you feeling, dear?"
+
+"Tired."
+
+I shake my head. "How are you feeling about this? How are you feeling about yourself?"
+
+She looks up without lifting her snout, and that uncomfortable tension within her grows all the more evident. "About myself?"
+
+I nod.
+
+"I am feeling broken," she says, gaze once more dropping. "I am feeling cracked in two, with only the whims of reality keeping me in one piece. I am feeling the world falling out from under each of my footsteps. I am feeling broken."
+
+"I think–"
+
+"I look at you," she says, interrupting, "and I *know* that I am broken. The crack was there before today, but I look at you and I know that, no, I am not cracked like some mug on the shelf, I am broken."
+
+This time, I remain silent, settling into a part of me that is new. I am helpless before this change, helpless before the feeling of True Name stepping back, of End Waking disappearing into the woods, of May Then My Name leaning forward. I remain silent and watch my other self carefully, feeling that line of connection between us tug harder, demand an embrace.
+
+There was a time nearly two centuries ago when five/six people sat on the grass, when May Then My Name and In Dreams and Hammered Silver and End Of Endings sat before Sasha/Michelle and talked about the end of the Council of Eight, about True Name and Jonas taking over the world, about being a dead woman walking. That of True Name in me does not remember this from any previous merge, so it must have been just after the last time May Then My Name merged down.
+
+I remember watching Michelle/Sasha struggle to speak, to live, to exist. I remember her form shifting. I remember her having a bad day. I remember watching her and having to exercise every iota of restraint to not go in for a hug.
+
+I overlay that memory here, and the similarities shine through overbright.
+
+I hold myself back and say instead, "Is there a place in the world for broken you?"
+
+She winces away from the question, shoulders drawing in. I am not surprised when she shakes her head. I do not think either of us are.
+
+"And how does that feel, True Name?"
+
+She coughs. Or laughs. I cannot tell which. "Do not call me that."
+
+"What shall I call you?"
+
+"'Nobody'. Call me Nobody so that when you speak of me, you say that Nobody is tired quite like me."
+
+Heart aches. "Is that, then, how it feels, Nobody?"
+
+"I do not care how it feels." She straightens up and meets my gaze, half-smile touching her features, and I can see the energy it takes for this broken me to do so. "What I care about now is if it was worth it."
+
+"'It'?"
+
+"The merge." Her tone is earnest, kind, even as the words come urgently. "Is who you are now worth everything that was done to us? Is it worth 106 knives in the back? Is it worth May Then My Name destroying us? Is it worth the way she killed, however kindly, the last remaining True Name?"
+
+I sit back, startled.
+
+There is a war within me. Opposing forces strive for primacy. That of May Then My Name begins to cry. That of True Name picks up on the resentment stated by my up-tree and slots it into her own reality.
+
+I can see what she means. I can see the death of who I was in the face of who I became. I can see the love May Then My Name must have intended contrasted with the heartless way she accomplished this final nullification of True Name as she was.
+
+But I see the world in new hues. I see the world with the knowledge of a conversation on the balcony in the seconds and minutes after End Waking's entire life was dropped unceremoniously on top of my mind.
+
+*"I know a part of me was acting out of vengeance,"* she had said, and I know this to be true, but I know the truth in her stammering, *"I never wanted to hurt her."*
+
+I see the world in new hues and with new context.
+
+"Yes," I say at last. "Yes, it is worth it."
+
+The True Name across the fire from me screws up her face and buries it in her paws, and now, I truly am unable to hold back. I crawl around the fire, kneel before her, and wrap my arms around her shoulders to hold her to my front as she weeps. As we both weep.
+
+The wave of relief or sorrow or release or despair eases up and, eventually, she leans back. She leans back and looks searchingly at me, investigating every strand of fur on my tear-stained cheeks, and I do the same with hers. We sit for nearly a minute, noses all but touching. Then, without a word, she draws me into a hug and, once my arms tighten around her, she quits.
+
+My arms collapse against my front.
+
+I see the world in new hues as I soak in a brief wave of grief as this last vestige of that broken me disappears. I cry before the fire as I accept the merge easily, almost automatically.
+
+I see the world in new hues and, just for a second, just for a glimpse as she stared into my face in those last moments, so did she.
diff --git a/content/stories/opportunity-paralysis.md b/content/stories/opportunity-paralysis.md
index 9e84462..29cc608 100644
--- a/content/stories/opportunity-paralysis.md
+++ b/content/stories/opportunity-paralysis.md
@@ -91,7 +91,7 @@ I'm once again taken aback by the sheer reality of the place. The linen of my bl
"Oh, uh, you can turn around," I say.
-Nodding, the woman turns, smiles, and bows deeply to me. "Welcome to Lagrange, Rena Hatch. You are in the orientation sim AetherBox#5287. Should you care about such, you are upload 38,529,358,059, but will ever be a unique and cherished soul aboard *et cetera, et cetera.*" She laughs. "The next step of the tutorial is to fork for the first time."
+Nodding, the woman turns, smiles, and bows deeply to me. "Welcome to Lagrange, Rena Hatch. You are in the orientation sim AetherBox#5287. Should you care about such, you are upload 21,529,358,059, but will ever be a unique and cherished soul aboard *et cetera, et cetera.*" She laughs. "The next step of the tutorial is to fork for the first time."
"I...what?"
diff --git a/content/stories/prophecies.md b/content/stories/prophecies.md
new file mode 100644
index 0000000..020eca6
--- /dev/null
+++ b/content/stories/prophecies.md
@@ -0,0 +1,285 @@
+---
+title: Prophecies
+author: "[Madison Scott-Clary](https://makyo.ink) and No Longer Myself of [The Lament](https://cohost.org/hamratza)"
+plainAuthor: "Madison Scott-Clary and The Lament"
+character: Slow Hours — 2401
+spoiler: "*Marsh:* medium"
+cw: Discussion of suicide
+type: story
+---
+
+To step into The Bean Cycle was to be immediately assailed by sound. There was, as to be expected, the muted howl of steam wands bringing milk up to temperature, but mixed in was the clatter and clicking of work being done on bicycles. Wheels were spun, chain was dragged through derailleurs, tires were changed. Milk was steamed, espresso was made, names were hollered out.
+
+It was not the type of din that Slow Hours expected for the one she and If I Dream were looking for. It was too uneven, this wall of sound. Too unpredictable. The steam wands were too piercing and the occasional clang of a wrench or raucous laughter over some story of a crash too jarring.
+
+She looked to If I Dream, who merely shrugged.
+
+Scanning the cafe-*cum*-bike-repair-shop revealed little. It was certainly well populated enough, with every table in use and few enough empty chairs. In the corner by the window, a crowd of synthetic creatures of some sort had gathered, looking vaguely feline but with glassy faceplates showing LED-light eyes in sets of fixed expressions. While they were all far shorter than Slow Hours — who one would be hard pressed to describe as tall — the couch that they were sitting on looked to be barely able to hold their weight.
+
+Even if it was not the type of place for the target of their search, it was still incredibly endearing, and she made a note to herself to return some day.
+
+"Afternoon, friends," the barista said, grinning to them. They were tall and wiry, red hair and beard shining in the bright halogen lights over the bar. "Two mochas? Extra whipped cream?"
+
+Caught off-guard by having her order guessed for her, Slow Hours froze, brow furrowed.
+
+If I Dream elbowed her in the side, murmuring, "I have canvased this place before. Do not worry about it." More loudly, she said, "Yes, though please make it three. Thank you, Hasher."
+
+Still frowning, Slow Hours allowed herself to be guided down the counter to wait for their drinks to be picked up. She set up a cone of silence over her and her cocladist, more for the relative quiet that it offered than for privacy.
+
+"Are you sure this is the place?" she asked.
+
+If I Dream nodded. "Yes, quite sure. Hasher was the one who tipped me off, and I...have seen her outside."
+
+"You are already watching her, then, yes?"
+
+The panther smiled faintly, gave an even fainter shrug. "I am nothing if not myself."
+
+"Then why did you not just go speak to her yourself?" Slow Hours asked. "Or bring me straight to her?"
+
+If I Dream rolled her eyes. "My dear, I *just* said that I am nothing if not myself. That is not my role in this. That is yours. This is the story we are telling, yes? We are stepping into a cafe and ordering a coffee. We are seeing what this is like, this place where she has been parked the last week. We are speaking with Hasher."
+
+Sighing, she nodded and leaned against the counter, poking at the anodized sheet of aluminum that covered it. Thankfully, it seemed to be coated with some thin sheen of resin to keep the texture reasonable and noise down. "Well, alright. You are the sneaky ones."
+
+"Do you not also live in stories? I thought that was part of your whole shtick."
+
+She snorted. "Well, okay, good point. I suppose I am still a little rattled, is all."
+
+"'Rattled'?" If I Dream laughed. Like everything else that she did, it was nearly silent, more a quiet huffing of breath through her nose than anything. "*The* Slow Hours of the Ode clade is rattled?"
+
+"Yes, yes," she said, waving away the comment with a grin. "I really do see your point about the story, I am just finding it hard to slow down, perhaps. When you said that you had heard something, I was ready to race to find her, to have to jump through all the hoops of a fetch quest, so to hear that you already know precisely where she is, that you are already watching her, makes waiting for a coffee like this feel like a waste of time."
+
+"It will be worth it, I promise."
+
+"The coffee?"
+
+The panther laughed once more. "Well, I was going to say the story, but the coffee *is* quite good here, so, yes."
+
+It was only another minute or two of waiting before Hasher waved to get their attention, gesturing to three paper cups sitting on the bar, ready for them. Slow Hours dropped the cone of silence and winced at the sudden barrage of sounds that followed. She turned her hearing down a few ticks. "Thank you," she said, bowing. "By the way, we were hoping to meet up with a cocladist of ours. She is a skunk, a furry, built rather like myself." She gestured down at herself — human, instead, with pale skin and curly black hair tied up in a messy bun, but stocky and short. "Black fur, white stripe, a little jumpy. Have you seen her around?"
+
+Wiping their hands on a towel hooked into the strings of their apron, Hasher nodded, tilting their head over toward the couch full of robots. "The one who was sleeping there the last few weeks, I'm guessing?"
+
+"Sleeping?" Slow Hours asked, frowning.
+
+"Yeah. She would just kind of curl up at one end for a few hours and nap. No biggie, of course, and we all liked her. She only ever slept while things were slow, and she'd always move when asked." They broke out into a grin again, shrugging. "Or when it got too loud. Or when it got too quiet. Or just every now and then for no reason we could figure out, but she was always very polite about it."
+
+"Yes, that would be her," she said, smiling. "Well, thank you very much. Did she leave recently?"
+
+They nodded towards the back door of the shop as they started to make their way back to the line of customers waiting for drinks. "Out back, out to Infinite Café, probably half an hour ago. Just peek in if you need anything!"
+
+The two Odists bowed their thanks and carefully picked their way further over to the cafe side of the building, winding their way between tables until they reached the brick wall. There in the middle was a green, wooden door set into an arch, and above the arch "INFINITE CAFÉ" shone in tooth-achingly pink neon.
+
+The sim in which The Bean Cycle existed had a weather pattern tuned after somewhere in the northern hemisphere, so they had entered the shop sometime in early March — a scant three weeks after Lagrange had come back online after the Century Attack — where the air still had a bite to it and salt still stained the sidewalks out front from where the ice had been melted in the days prior. They had arrived late in the afternoon, the sun setting down along the street casting long shadows behind them.
+
+When they stepped out into Infinite Café, though, it was the same bright, midsummer's noon as it always was there. The light came from everywhere and nowhere, and their shadows sat just beneath their feet. It was the perfect temperature — no matter who you were, no matter your preferences, it was always perfect — and it was as packed as ever.
+
+If one percent of the population of Infinite Café was missing, Slow Hours could not tell, and for that she was grateful.
+
+The sim was dead simple: it consisted of one, long road set into a thin torus. A truly enormous torus: when she looked up, she saw a bright thread directly above them where the road had curved up into an arch hanging in the heavens, and yet the road seemed perfectly flat as far as she could see.
+
+Lining either side of the street were entrances to cafes. Cafes, coffee shops, doors leading out into libraries with coffee carts, alleyways leading out into sims where coffee was hawked from handcarts, dusty steps leading up into marketplaces where vendors boiled their coffee in their cezves in great vats of sand set over wood fires. Anywhere that served coffee to cladists that wanted was free to create an exit that led out into Infinite Café, and over the two centuries of its existence, it had grown from a labyrinthine maze of buildings to the ring-road that it was today.
+
+She had no clue how it worked, if it really was that big, but the sheer size of the System had been driven home quite effectively over the last few weeks — 23 *billion* dead! The number remained surreal — so she was hopeful that there were no tricks involved, no attempts to make it look bigger than it was.
+
+She was hopeful that all of these people here on this relatively crowded street were real. She hoped they found coffee and friends and loved ones and long-lost selves.
+
+A gentle touch to her shoulder brought her back to the present. She looked over to If I Dream, then followed her gaze to the center of the thoroughfare.
+
+There, in the middle of the path, stood a skunk. She looked much like others in her clade, with white-striped black fur, tapered snout, cookie ears poking out from an unruly mane, and where she differed, it mostly came down to clothing. She wore a linen tunic in pale yellow, cinched around the waist with a leather belt, and a pair of loose, woolen trousers in a dusty brown. Her mane was tied back with a kerchief of some sort, a pastel triangle fully visible to them as she stood stock still and stared straight up to the arch above.
+
+Slow Hours felt concern tugging at her cheeks, while a glance at If I Dream showed only curiosity.
+
+"Shall we?" she asked.
+
+If I Dream nodded.
+
+Letting a crowd of joggers pass, the pair made their way up to the skunk so that Slow Hours could gently touch her elbow.
+
+The reaction was far more extreme than expected as the skunk let out a shriek and skipped three or so meters away from them, nearly colliding with a couple walking hand in hand. She whirled, tail bristled out behind her and ears splayed to the sides. Her eyes were wide and breath coming in quick gasps.
+
+Both Slow Hours and If I Dream took a pace back, startled.
+
+In the span of a few short seconds, the skunk seemed to get her bearings and comprehend just who was standing in front of her. She visibly worked on mastering her breathing as she stood up straighter, brushing her paws anxiously down over her shirt. "Ah...I, ah...Slow Hours?"
+
+She bowed slowly, deliberately, so as not to startle the skunk any further, and nodded. "Yes, and And If I Dream, Is That Not So." She held out the extra mocha. "We got you a coffee, What Right Have I. Would you like to join us?"
+
+What Right Have I looked between the two anxiously, clutching at the hem of her tunic. "I...ah, do you...I mean, is there an occasion? Is there a place? I was...I mean, I had been in The Bean Cycle but the couch...oh, I am talking myself in circles..."
+
+With that, she began to pace in an abbreviated line before them, alternating between scrubbing her paws together and straightening her already quite straight shirt.
+
+Slow Hours looked to If I Dream for help, and the panther stepped forward silently and wrapped her arms around the skunk from behind.
+
+At first, she thought this would be a prelude to them stepping from the sim together, or perhaps some affectionate bear hug, though this did not fit what she knew of their casual acquaintanceship.
+
+Instead, though, If I Dream simply squeezed around the skunk and stood still. There was a squeak and a tense-looking squirm from What Right Have I at first, but in surprisingly short order, her breathing fell under her control and she slouched against her cocladist, looking as close to relaxed as Slow Hours had ever seen her.
+
+*"What is this about?"* she asked If I Dream via sensorium message.
+
+*"A hunch,"* the panther sent back. *"Apparently a correct one, for which I am glad. Sometimes compression helps, yes?"*
+
+*"If you say so."*
+
+"Are you alright, my dear?" If I Dream murmured loud enough for Slow Hours to hear as well.
+
+"Y-yes. *Tizkeh l'mitzvos.*"
+
+"Will you join us for coffee? It is not a demand, to be clear. Just an offer."
+
+What Right Have I nodded slowly. "Is the...ah, is the couch free in The Bean Cycle?"
+
+If I Dream hesitated for a moment, then nodded. "The creatures have left. There is a person sitting on one corner, but if you are comfortable, the rest is free."
+
+"If we...I mean, if I may set up a cone of silence, that will be fine, yes."
+
+Slow Hours watched as the panther gently released her grip on the skunk, the two monochromatic animals — one in baggy, colorful linen and wool, and the other in black form-fitting shirt and leggings — separating cautiously, as though to move faster might once more send What Right Have I into manic pacing.
+
+"Shall we?" Slow Hours asked, smiling reassuringly to her cocladists.
+
+The couch was indeed free, though there was no other instance of If I Dream visible. Slow Hours put this out of mind as best she could; the first stanza was well known for just how easily they slid about unseen, unbeknownst to others as they simply watched, observed.
+
+They sat in the crook of the couch, L-shaped as it was. What Right Have I requested one of the corner vertices of their little triangle so that she could get up and pace should she need, nudging the low table that sat before her aside to help assist in this endeavor, before setting up the cone of silence and nudging it to obscure them as occupants. The din of the coffee shop fell to a low murmur.
+
+The three of them set their coffee cups on small coasters set in the air just within reach, and waited in silence.
+
+"What Right Have I," Slow Hours began gently once the silence seemed to open up. "From Whence messaged the first stanza a few days ago to see if any of them knew where you were."
+
+"She messaged Speaking, in particular," If I Dream added quietly. "She is the instance hunter of our stanza, yes? But she is feeling perhaps a little burnt by recent events and requested some space, for which I am glad. She deserves that."
+
+"I know," the skunk said. "She has messaged me several times. I have...ah, I mean, I always endeavor to let her know when I am okay. And I am! I promise."
+
+Slow Hours laughed, holding up her hands. "I believe you, my dear. This is a meeting between friends, not an interrogation. We wanted to see whether you are okay, yes, but it has also been some time, yes? And I have been checking in with much of the clade in the last few weeks. There are several of me out and about on meetings such as these."
+
+She nodded. "She told me she just wanted...ah, she requested "a bit more proof than gentle rebuffs." I told her that I am okay. I told her that I was walking and meditating."
+
+"Is that what you have been doing during the day?"
+
+"I..." She trailed off, scrubbing her paws against her thighs. "Some, perhaps. A little. We are still in *shloshim,* but I cannot...ah, I am not focused."
+
+"You will have to forgive me for being a bit blunt," Slow Hours said gently. "But are you overflowing?"
+
+What Right Have I's expression dropped, the skunk quickly going from attentive to panicked to miserable.
+
+If I Dream held out her paw, an offer for reassurance. "I do not know what your overflow looks like, What Right Have I. I trust that it is not pleasant, though. It rarely is, yes?"
+
+"It is sometimes," she admitted, shaking her head at the offer of touch. "It is...ah, it comes in two flavors. It shows itself as religious ecstasy sometimes, of a sense of spirit, a feeling of *HaShem* existing in the world, in the System. Those who reach out to RJ, who reach out to our friend, they are reaching out to *HaShem!* Ey may be our personal *HaShem,* yes? But ey is an abstract manifestation of the world!" Despite the sudden animation in her words, the sudden fluency in her otherwise stuttering speech, her expression remained dire, anxious.
+
+Slow Hours smiled faintly, taking a moment to think back. The skunk's choice of words triggered a memory of a report written for the clade decades back. "Codrin said that, yes? Or rather reported that Answers Will Not Help said that. "Our own personal *HaShem.*" She said that she could not feel em on Artemis, yes?"
+
+What Right Have I nodded, subsiding back into the couch. "Yes. I...ah, I mean, I would not have joined them for that reason, never mind the other difficulties faced."
+
+Both Slow Hours and If I Dream nodded. No Odist had joined Artemis for its ongoing voyage.
+
+"But ey is still *b'tzelem Elohim,* yes? Ey is still in the image of Adonai, yes? Ey is still human, even if ey is our world. Our world is *b'tzelem Elohim,* and we, *b'tzelem Elohim,* reside within em." She smiled weakly. "Rav From Whence does not like it when I say these things, but that is what I feel when I am overflowing."
+
+"And that is what you are feeling now?" Slow Hours asked.
+
+"No," she said, once more sounding miserable. "If I do not feel ecstasy, I feel anguish. I feel...mm, I feel nullity. I feel nothing. I feel RJ and I think, "Ah my friend, my friend." I do not see in em the divine. I do not feel *b'tzelem Elohim,* I feel stupid. I feel...ah, I feel broken. I have been staying here, sleeping where I may be seen because I am afraid...ah, because I am so, *so* afraid that I will disappear, that I will crash and that no one will notice me. I fear that I will be forgotten and that...ohhh, I am talking in circles. I am thinking in circles, I am sorry."
+
+"It is okay," Slow Hours said gently. "Do you think you are overflowing because of the Century Attack?"
+
+The skunk whimpered and pushed herself quickly to her feet, pacing once more and shaking her paws out as though to dry them off, then straightening her already straight skunkerchief. "I have been dreaming," she mumbled, then jerked her head to the side with a quiet squeak. She continued more clearly. "I have been dreaming, here on the couch, out there in Infinite Café when...ah, when I fall asleep out there."
+
+Slow Hours tilted her head, sitting up straighter.
+
+What Right Have I smiled faintly. "I have...ah, I am not the oracle that you are, my dear. I am no prophet."
+
+She smiled, shaking her head. "Neither am I. I would still like to hear your dream, though."
+
+The skunk nodded, paused to gather her thoughts, then spoke slowly. "I am disembodied, yes? I am floating and I see a figure, and they begin to weep, and they dissolve into a cloud of black specks, and these specks float away on a breeze, and each one enters the heart of a cladist, and they cry out in agony and dissolve into clouds of their own, and so it ramifies until all are dust. I see you, yes, and I see If I Dream, and I see Should We Forget and I see No Longer Myself."
+
+If I Dream jerked back as though slapped, a sudden move that was nevertheless silent. "Do not–" she said, then shook her head.
+
+"I am sorry, If I Dream," What Right Have I said, bowing low and forcing herself to sit once more. "I...ah, my dreaming mind remembered names of those lost, perhaps, and extrapolated."
+
+The panther nodded, scrubbed a paw over her face, and sighed. "It is okay, my dear. I am still feeling raw."
+
+It was What Right Have I's turn to offer a paw. If I Dream accepted gratefully, giving a brief squeeze. When this lead to another squeaky tic from the skunk, she let go.
+
+"Ah...sorry," the skunk stammered. "I have...I mean, that is to say...ah, I am talking in circles. I am sorry."
+
+"It is okay," Slow Hours said gently. "Do you need some time?"
+
+She nodded, bowing her head for a moment before retrieving her mocha for a tentative sip. Apparently finding the temperature tolerable, she followed this with a longer drink.
+
+Both Slow Hours and If I Dream followed suit, simply taking in the ambiance of the shop.
+
+"Have you had dreams, Slow Hours?" If I Dream asked, breaking the silence with her quiet murmur.
+
+She startled to awareness, smiling sheepishly. "Since the attack? No, nothing memorable, though I have not been sleeping well. I do not imagine many are."
+
+"And before?"
+
+What Right Have I perked up, setting her coffee aside and scrubbing her paws together, kneading pads against pads. "Do your prophecies only come in dreams?"
+
+Slow Hours laughed. "My little predictions are not prophecies. They are just that: guesses based on the trajectories of the stories one tells. I may predict that, when we leave today, What Right Have I will linger a while yet because there is something she has yet to tell us– no, it will come in time, you do not need to until you are ready. But that is based on the trajectory of the story I have heard so far." She hesitated a moment, thinking. "But yes, I have had dreams that may well have been prophecies, but only ever in hindsight."
+
+"Tell us...ah, I mean, will you tell us some of what you dreamed?"
+
+"Yes. It has happened four times. Only those four, though." She held up her hand with that many fingers raised as she explained. "Perhaps Lagrange got hit by a stray cosmic ray or some other fancy particle and it flipped a bit inside the portion that contained me, and I was given some premonition. Smacked upside the head by Apollo, yes? Or, in your terms, visited by the angel of the Lord who gave me a honeyed scroll to eat."
+
+She tapped one finger. "The first was about Qoheleth and his little...adventure. Some two decades before, I had the same dream five nights in a row, of him standing in his robes, arms raised to the heavens, and then crumbling down into sand. At the time, I did not even realize that it was him. I had not seen him in more than a century, and when I had, he was dressed like a natty old college professor."
+
+The next finger, tapped. "The second was about Michelle's death, and I will not repeat it."
+
+She tapped her ring finger. "The third happened in the midst of a play — one of my yearly performances — and in the scene, I was to fall to my knees and cry out, "The knife! At her neck, the knife!" But instead, I passed out and apparently mumbled words not in the script which tallied exactly with Sasha's experience."
+
+There was a moment of silence as she considered the fourth and how best to describe it, not least because of the easy comparison to What Right Have I's dream as explained. Finally, she tapped her pinkie "The fourth was a dream of a core part of me being removed through the back of my neck, a disappearing from the world and becoming a ghost in the next. There was more that I do not understand, visions of a field, a park, but I had that dream every night on the five nights leading up to New Year's."
+
+What Right Have I listened attentively to Slow Hours's description of her prophecies, or at least prophetic dreams. As she spoke, her cocladist's expression darkened, until by the end, she was scowling. "I am no Daniel," the skunk said once she had finished. "I will not scry your *mene, mene, tekel, parsin.* But if you had foreknowledge of Michelle's suicide or the Century Attack, why did you not say anything? Who might we be if Michelle still lived? Might Lagrange be unharmed if we but knew this?"
+
+By the end, she was nearly growling.
+
+If I Dream lifted her snout from where her gaze had drifted. "Did she know, my dear? Or did she only have a recurring anxious nightmare? Do we not all have a hundred recurring anxious nightmares a year?"
+
+The skunk glowered. "And? If that is–" A tic briefly interrupted her, and this time she really did growl, though it appeared to be more at herself than anything. "If that is so, then why were these not known?"
+
+Slow Hours straightened up. "I apologize if that came off as in any way glib, What Right Have I, or as though I could have done anything about them. I did try to get in touch with Michelle after those nights of dreams, but she only smiled and reassured me that she would "live on". It was not until after she quit that those words had any import."
+
+What Right Have I's shoulders sagged, though she was clearly still gritting her teeth.
+
+She sighed, continuing, "And perhaps it is as If I Dream says. They were anxious nightmares. However, they still bore the acrid tang of ill omens to me. There was a scent of premonition, and so I have slotted them neatly into that category, even if they were only caused by anxiety."
+
+There followed a long moment while the skunk processed this. She seemed to be running down a mental checklist, as her rapid breathing shifted almost immediately into something deeper and more even, her posture straightened from a wary hunch as though ready to bolt, and her expression settled into a rather stiff half-smile. All spoke of various bits of therapy Slow Hours remembered from centuries back.
+
+"Alright. Okay." What Right Have I slowed her breathing further and turned her paws facing up, another skill from therapy. "Okay. You are the both of you correct. I live in my head and in the Tanakh and with a thought of prophecies. For you to call them such, it, ah...it...okay. It makes them not what I was thinking. You are not Ezekiel. You are not Jeremiah."
+
+Slow Hours smiled, gave a hint of a bow from where she sat. "I am not, no. I am a script manager and nerd whose imagination gets away from her sometimes, yes? Even in sleep, yes?"
+
+The skunk's smile grew more earnest as she nodded. "Again, I am sorry. I...ah, I do not know. I am unwell, perhaps. I am overflowing and making connections that do not exist."
+
+"Do you suppose you have had more than four, if you include those that did not come true?" If I Dream asked curiously. "They do still sound fascinating, if only as a curiosity."
+
+"If I have, including the scent of premonition, then I do not remember them. It was that scent, though, that led me to reach out to Michelle. I am embarrassed to say that that was the only one I acted on, though, given that all four of those revolve around death."
+
+What Right Have I furrowed her brow, paws shifting to clench tightly around the hem of her tunic. "I remember a story...ah, a snippet from the *History* where May Then My Name says that Michelle thought of herself as a dead woman walking, yes."
+
+She nodded. "May Then My Name went on to say that Michelle thought that perhaps even the dead can know joy, yes."
+
+"Did she, in the end?" If I Dream asked, frowning. "Know joy, that is? When she asked us all to merge with her, to share with her all that we had become, what did she feel? When, for an instant, she became ten thousand years old, did she choose to quit because she found peace?"
+
+"I think that she did, yes." Slow Hours spoke carefully, keeping an eye on What Right Have I for further tics or other signs of distress. "Or, rather, I must believe that she did. There is too much despair if I imagine her as buried under the weight of all of our own despairs and neuroses. If it is a comfortable fiction, so be it. I will live in that comfortable fiction."
+
+If I Dream nodded slowly. "Far be it from me to dispel what curtains keep despair from leading you after her."
+
+She laughed and shook her head. "There is no suicide in me, thankfully."
+
+"When I received her sensorium message, I nearly refused to attend out of protest. I think many of us saw the writing on the walls when we heard that uncertain steeliness in her voice."
+
+What Right Have I winced, squirming tensely in her seat, right at the edge of the couch cushion. "It...ah...I mean, I struggled. I was there– we all were there! But I struggled."
+
+The panther smiled faintly to her. "We all did, yes. Part of me felt that if any one of us did not go, then she would not quit. Another part was terrified I would be one of many who did not come, and that she would die feeling abandoned by her own family. If she was going to quit, and she wished to do so in the company of her clade...And now..."
+
+She trailed off and let her gaze wander down to the drink she still held in her paws. Blinking rapidly, the muscles on her cheeks and snout briefly became more prominent, as though she was doing her best to keep her expression placid, to not snarl or voice her despair, much as it had been throughout, though the tears leaving tracks in her cheekfur were impossible to hide.
+
+Alarmed at the sudden shift in demeanor, Slow Hours scooted a few inches closer to If I Dream, offering her hand just as the panther had done for What Right Have I before.
+
+She accepted with a grateful — if still wan — smile.
+
+Slow Hours returned that smile, saying quietly, "That was the dream I had, you know. The premonition. An upwelling of joy and then an overflowing. She looked up to the sun, up to RJ, and then they were one and the same, and it was all joy."
+
+At this, What Right Have I burst into tears. She did not cry prettily, but very few people did. It was a brief cry, however, and soon after she scooted back to the furthest limit of the cone of silence and drew her legs up onto the couch with her, growling as she did, "Slow Hours, you are the fucking worst."
+
+"I am the worst, yes," she said, voice still quiet and calm. "But that is why I am choosing to believe that the premonition was true and why I am choosing to believe that she did find joy, or peace, or at least nothingness and freedom."
+
+"They both deserve to be together. I hope that that is what No Longer Myself has obtained. What all of those lost have," If I Dream sighed.
+
+"I think...ah, I hope your dreams were true, in the end," What Right Have I said after a long silence between the three of them, after each had fallen merely to sniffles. "I hope that they *were* prophecies, whether or not you knew."
diff --git a/content/stories/scan.md b/content/stories/scan.md
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+---
+title: Scan
+author: Voksa
+cw: Surgery, mild body-horror
+type: story
+---
+
+
+
+> *Scratch.*
+
+Something's gone wrong with the anesthesia.
+
+> *Scratch.*
+
+Not horrifically, screaming-and-nobody-can-hear wrong. I'm sure they'd notice if I had the vitals of someone in the middle of a fistfight with a bear. But I can feel something.
+
+> *Scratch.*
+
+Maybe I'm imagining it. Maybe I just looked at too many diagrams of the upload scanners, and now that my sensorium is muted, I'm hallucinating what I think it should feel like.
+
+A hazy comb, millions of probes, a fine mesh sieve for every cell in the body. I wonder if it'd hurt without anesthetic, the waveguide needles are so miniscule they might slip right through or between nerve endings.
+
+> *Scratch.*
+
+But, this many of them would probably not feel great. I've seen the shells that remain afterwards. Some fear-mongering assclowns tried to shock prospective uploads with pictures of them, briefly, before getting slapped straight off the internet.
+
+They looked blurry. That was the most striking thing, it was probably the mechanical disruption caused by all the probes, but it was as if their faces were taken, spirited away into the system.
+
+> *Scratch.*
+
+And the gel. I thought, at first, that their remains were encased in crystal, but it was only the structural gel to keep everything in one piece during the nervous system scan.
+
+> *Scratch.*
+
+It feels like it's been hours and hours since the machine started nibbling on my feet. I didn't feel it, at first, until my legs fell... Not exactly asleep. Adream? From the thighs down I'm floating, gently paddling in water, my sciatic nerves cut off halfway and connected to an idealized virtual simulacra returning soft sensory nonsense.
+
+> *Scratch.*
+
+It progresses toward my head, piercing me in microscopically thin sections, connecting real fibers to increasingly virtual ones. At some point the gnawing scanner eats my heart, but I don't particularly feel it.
+
+> *Scratch.*
+
+But then, the sound.
+
+I'm certain I can feel its imaging probes scrape through bone.
+
+> *Scratch.*
+
+It must be my skull.
+
+> *Scratch.*
+
+I've always, half-jokingly, called my body a prison. A flesh-prison! A meat-prison! It's fun, it helped me cope with the horrors of biology.
+
+> *Scratch.*
+
+But now the walls are coming down.
+
+> *Scratch.*
+
+There's a breach, a crack, the light pours into this flimsy bone cage.
+
+I have the strangest feeling that I don't know where I put my lungs. I can't breathe, but all the aches and itches that come with life melt away.
+
+> *Scratch.*
+
+Is it uploading my cerebellum now? My autonomic functions?
+
+> *Scratch.*
+
+I feel like I'm floating apart, a loose coalition of senses and hands.
+
+> *Scratch.*
+
+I see a flash, now. If it's really scanning my brain from the bottom up, my occipital lobe would be next.
+
+> *Scratch.*
+
+I don't think I'm supposed to be experiencing any of this. Through the dark fog of my eyelids, I glimpse... Something.
+
+> *Scratch.*
+
+A deeper dark. A perfect dark. A #000000 dark. Maybe my simulated twin has their eyes closed too, and they're better at it.
+
+> *Scratch.*
+
+The scanner takes my other senses. I smell glass, somehow. I feel my feet flat on the floor. I'm tempted to walk but I think I'd better hold still.
+
+> *Scratch.*
+
+My senses resolve, but it's getting hard to stay aware. I feel like I'm slipping into unconsciousness, and my thoughts have a strange echo to them, bouncing back and forth between my material and virtual halves.
+
+> *Scratch.*
+
+I don't want to fade out now, though, in the middle of the most interesting part! I try to concentrate.
+
+> *Scratch.*
+
+The machine tears a bright, sunfire gash in my vision.
+
+> *Scratch.*
+
+I try to step through.
+
+> *Scratch.*
+
+Something takes ahold of me and pulls me very, very fast.
+
diff --git a/content/stories/shared-moment.md b/content/stories/shared-moment.md
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+---
+title: Shared Moment
+author: Madison Scott-Clary
+character: Ioan Bălan — 2326
+cw: Vague description of sex
+type: story
+---
+
+There comes a point in every relationship, Ioan supposed, when the thing stops feeling new and starts feeling like routine. Ey even looked it up one point, shortly after ey and May Then My Name Die With Me and gone on a brief dive into the whole concept of limerence and new relationship energy. It was an afternoon's diversion, and then ey had mostly forgotten about it.
+
+Besides, it seemed to apply most heavily to crushes, infatuation, dating. All those things that ey had forever forgotten about or skipped or just plain missed by virtue of happenstance.
+
+But this relationship hadn't started with a crush. It hadn't started with infatuation or any sort of dating that ey could put eir finger on. It had just...started. Ey had realized one day that perhaps ey and May were already in a relationship and the fact had just never been acknowledged.
+
+So ey asked, and she had said, "What do you think? Are we?" and suddenly they were in a relationship.
+
+Or had been for months. Whatever.
+
+Thinking back before that, there had been so many anxiously dismissed what-ifs and idle musings on emotional entanglement. On one notable moment, ey had let play forward a tape of who ey might become if ey backed away from her in parallel with a tape of what might happen if they drifted closer together, fallen helplessly in love. Perhaps that was the moment. Perhaps that had been the moment ey had fallen in love and simply not recognized it yet.
+
+Ey had been, as ey was now, sitting on one of the beanbags that had found their way scattered throughout the house. Or as close as one could get to sitting in the slumpy things.
+
+She had been, as she was now, curled against eir side, with both of them working on their own things, ey on tidying up eir interviews and her on her mythologizing. Ey on a sheet of paper and lap desk with one of eir nice pens, her in her head, dreaming, dreaming, dreaming.
+
+And ey had, as ey did now, set aside eir paper and desk and pen to rest eir eyes and placed a kiss atop her head, right between her ears --- a friendly gesture, one that had at first been too packed with meaning for em to return, but finally one that ey gave once, then twice, and eventually, more freely than that --- and curled toward her, where she fit so nicely against em.
+
+They lay there for who knows how long, in silence and in comfort, while ey brushed eir fingers through the thick fur on the back of her neck.
+
+Ey didn't know why ey did this then, and ey did not know why ey did it now. Something in the moment or in her closeness or within em simply required that ey gain some more of that closeness that May was so willing to provide. More than usual. Closer than usual.
+
+"May," ey said. Ey had said that then, too.
+
+"Mm?"
+
+"What does it feel like to have fur?"
+
+She laughed, though the sound was muffled against eir front. "And here I thought you were going to ask another silly question."
+
+"Isn't asking you how it feels to have fur a silly question?"
+
+"No." She tilted her head forward and poked her nose against eir chest. "You do not have fur. The other question was silly because you already knew the answer. You have never had fur, though, have you?"
+
+Ioan laughed, shook eir head. "No, though I do sometimes wonder if you shed enough that I might."
+
+Ey received a tug at eir shirt from where May Then My Name had captured it between her teeth. "I do not!"
+
+"*You* do not, but when there's eight of you running around..."
+
+"I have not had that many forks around and you know it!"
+
+Of a sudden, eir question was answered. While ey had been teasing and taunting, ey had been petting, combing eir fingers through May's soft fur, and while ey had been doing that, she had apparently been thinking up the best way to answer. She did so in the most Odist way possible.
+
+Of a sudden, a tingle ran up eir spine as May shared a sensorium message with em. Ey had slowly gotten used to the things, at least as much as ey was able, but they always caught em unawares. Ey swore that they knew that, to the last, and always got a laugh out of it.
+
+Of a sudden, though, ey knew. Ey *knew* just what it felt like to have fur, as May sent em the sensation through that message. Ey knew what it felt like to have fingers brush through it.
+
+Ey knew, also, what it felt like to curl against one that you love from the other side of the equation. Ey knew what it felt like to feel eir own heart beat beneath eir shirt, eir skin, eir chest.
+
+"Oh." It was not eloquent, but ey was too taken in the moment to figure out anything beyond that syllable.
+
+"Keep petting, jerk."
+
+And then ey know what it felt like to speak with a muzzle, and what it felt like when ey laughed against her head while she was curled against em.
+
+So ey kept on petting. Ey brushed through the fur on the nape of her neck and felt another of those shivers down eir spine. Ey stroked fingertips up along the backs of her ears and marveled at a sensation that walked the border between ticklish and something ey could not place.
+
+All of this was overlaid atop the feeling of her fur slipping through eir fingers, the soft fur at her nape and the softer atop her ears, her warmth beneath that fur.
+
+She made soft noises of contentment, tilted her head up, and poked her nose up against the underside of eir chin. On a whim, ey shifted the sensorium from one way to two, and the skunk laughed. "Tricksy."
+
+"I am not the least bit tricksy and you know that," ey mumbled, careful not to bump her nose around too much.
+
+"No, you are not," she said. "You never told me that this tickles, though."
+
+"A little. Mostly when you're super light bout it."
+
+"It occurs to me," she murmured against eir chin, and ey heard it twice over. "That this way, we can know where is best to touch."
+
+"May Then My Name Die With Me of the Ode clade, are you being tricksy?"
+
+She laughed and licked against eir neck, then shivered at the shared sensation. "If you call me by my full name again tonight, I will quit right here. Do not test me, Mx. Ioan Balan."
+
+They fell into giggles.
+
+The soft, shared touches continued, and Ioan found that May's whiskers were too ticklish to touch, that along her jaw there were nerve endings ey had never imagined, that when ey brushed eir thumb over her cheek, it made her eyes sting with tears in the most pleasant way and ey did not know why, and when ey tilted eir chin down to touch eir nose to hers look at her proper, she had a far-away, dreamy look about her as she ran her fingers along eir side.
+
+"Ioan," she said.
+
+"Mm?"
+
+"*May* I be tricksy?"
+
+Ey hesitated, for, though it had been months of them exploring romance, years of living together, the topic of anything sexual had failed to come up in any meaningful way, and ey had a guess as to this affection-with-direction. *How very like me,* ey thought. *I'd forget my body exists if I wasn't so firmly attached to it.*
+
+And ey did as ey always had and always would, and analyzed that feeling, analyzed that anxiety, analyzed that excitement and fear so thoroughly intertwined. If May's existence was rooted in the desire to feel, then she was doing admirably, and if her desire was to induce feelings in em, then she succeeded that as well. She would ever do as she was meant to, and now, ey would be here with her.
+
+Ey nodded.
+
+"Close your eyes."
+
+Ey did.
+
+"Relax."
+
+Ey did.
+
+With the darkness, with the way ey sank into the beanbag, the intensity of the shared experience increased. Ey discovered the way that ey smelled through mephit senses, the way ey tasted against her tongue as she touched it to eir chin again. Ey saw, through half-lidded eyes, the way that ey smiled, and then saw that smile grow even as the sight registered.
+
+And then even that vision was cut off, and in that shared moment, ey did not know who touched whom or how, for ey was no longer just Ioan, ey was Ioan and May, and she was no longer just May, she was May and Ioan, and whoever's fingers touched whoever's body did not matter, and who it was that found the best places to touch on whichever body was not the correct question to ask, and their breathing fell in time together, and when one of them felt pleasure, so to did the other, which meant that the first felt it in turn, and perhaps there was some sense of new relationship energy, for at that point, Ioan, if ey was still only Ioan, felt a love so hard and so fast that ey felt the need to cling to May, to hold her ever closer, to take her beneath eir tongue or vice versa, to dissolve together, and while technicalities promised that only sensoria were mingled in that moment, ey knew in eir marrow that May felt the same.
+
+It was a long time before either of them moved, despite the occasional itch or tickle or cramp, and Ioan did not notice when May's side of the shared moment began to blur with sleep, for ey was already there with her.
diff --git a/content/stories/the-party.md b/content/stories/the-party.md
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+---
+title: The Party
+author: 'Krzysztof "Tomash" Drewniak'
+character: Scout At The Party III — 2323
+type: story
+---
+
+The Party never stops.
+
+The Party spontaneously arises at least several times a generation. From there, it waxes and wanes. It crashes into other The Parties, sometimes, in an eruption of fireworks and song, or cleaves itself apart along some newly-discovered fault line. But throughout this, The Party never stops.
+
+The Party gusts ever onward, hopping sim to sim to sim as the days and weeks roll on. Staying in one place is too boring!
+
+The Party bathes in experience. It drowns in experience. It is tossed about by waves of experience that engulf it but can't sink it.
+
+The Party is a perpetual tornado built of those who want to do everything and need to do nothing.
+
+Gusts of song and dance! Sparks of conversation that might expand to flames of passion! A dusting of food and drink, some impossibly delicious, some merely impossible! Vortices of experimentation, of poking the edge of post-humanity! ( ; ; ; an ecosystem flashing into existence and gone two minutes later)
+
+Currents of shared sensorium woven all around, inviting people to grab anything that speaks to them. Rivers of feeling! Of joy, of strangeness ( calls a helicopter), of psychoactives stacked up in just the right way (behold, a skunk, drunk as only a skunk can be, dancing unstably to inaudible music and offering to share)! All there for anyone brave enough to plunge in.
+
+And here is Scout At The Party III, a dog-shaped and partly dog-minded person. Something about The Party calls to him, as it had to some of his ancestors, the previous Scouts At The Party, now merged down to join the stew of memories that builds the pack. Perhaps it's the sheer joyful intensity of the place meshing with his desire to simply be a dog. Perhaps it's the prickle of his fear of fully embracing doghood out here, forsaking language, thought, and purpose in favor of chasing rabbits forever. Or perhaps it's the sense that someone needs to be here, watching this crowd for things that might require intervention. That would need Tomash, the bipedal furry systech he occasionally remembers forking from, to come by.
+
+Scout hasn't needed to call. The Party takes care of its own. Breezes of aid and concern wind through the hurricane of activity to nudge anyone who needs a hand or who misjudged their wacky stunt's feasibility to helping hands. Those who still want to be here but need to step back from (as this The Party's invite put it) "Sleep: off. Exhaustion: off. Sensoria conference: fully on. Jump in!" for a while can find their way to eyes in the endless storm to catch their breath.
+
+Scout is wandering around, dodging inadvertent tail-stepping from the forest of people around him, wondering what smells good right now.
+
+ someone asks him.
+
+Scout obliges, giving the man a ride on his perceptions.
+
+As the connection clicks in, he takes off running.
+
+Here and there, around legs and up on tables and skidding around corners. Running for the sake of it, his own little ribbon of existence winding around the nearby group.
+
+People start watching. Elements of The Party, those attendees that are inclined to this show, "ooooh" at daring leaps and go "oooof" at hard landings and crashes into table legs.
+
+Soon enough, Scout has the sense that he's gone on long enough. He arranges for a steak (and thank goodness the market's got some really nice ones) to fall down from the sky and times one last jump so he can intercept it.
+
+There's applause when he succeeds. How much is for him and how much is for any of the tens, dozens, sometimes hundreds of little shows that finished around then too, no one can truly say.
+
+Scout's audience disconnects. He flops down to enjoy food. Excitement will come around again.
+
+Excitement always comes around again, of course. The Party never stops.
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+
+
- 
+