init commit

.cursorindexingignore

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+# Don't index SpecStory auto-save files, but allow explicit context inclusion via @ references
+.specstory/**

.specstory/.what-is-this.md

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+
+# SpecStory Artifacts Directory
+    
+This directory is automatically created and maintained by the SpecStory extension to preserve your Cursor composer and chat history.
+    
+## What's Here?
+    
+- `.specstory/history`: Contains markdown files of your AI coding sessions
+    - Each file represents a separate chat or composer session
+    - Files are automatically updated as you work
+- `.specstory/cursor_rules_backups`: Contains backups of the `.cursor/rules/derived-cursor-rules.mdc` file
+    - Backups are automatically created each time the `.cursor/rules/derived-cursor-rules.mdc` file is updated
+    - You can enable/disable the Cursor Rules feature in the SpecStory settings, it is disabled by default
+
+## Valuable Uses
+    
+- Capture: Keep your context window up-to-date when starting new Chat/Composer sessions via @ references
+- Search: For previous prompts and code snippets 
+- Learn: Meta-analyze your patterns and learn from your past experiences
+- Derive: Keep Cursor on course with your past decisions by automatically deriving Cursor rules from your AI interactions
+    
+## Version Control
+    
+We recommend keeping this directory under version control to maintain a history of your AI interactions. However, if you prefer not to version these files, you can exclude them by adding this to your `.gitignore`:
+    
+```
+.specstory
+```
+
+We recommend not keeping the `.specstory/cursor_rules_backups` directory under version control if you are already using git to version the `.cursor/rules` directory, and committing regularly. You can exclude it by adding this to your `.gitignore`:
+
+```
+.specstory/cursor_rules_backups
+```
+
+## Searching Your Codebase
+    
+When searching your codebase in Cursor, search results may include your previous AI coding interactions. To focus solely on your actual code files, you can exclude the AI interaction history from search results.
+    
+To exclude AI interaction history:
+    
+1. Open the "Find in Files" search in Cursor (Cmd/Ctrl + Shift + F)
+2. Navigate to the "files to exclude" section
+3. Add the following pattern:
+    
+```
+.specstory/*
+```
+    
+This will ensure your searches only return results from your working codebase files.
+
+## Notes
+
+- Auto-save only works when Cursor/sqlite flushes data to disk. This results in a small delay after the AI response is complete before SpecStory can save the history.
+- Auto-save does not yet work on remote WSL workspaces.
+
+## Settings
+    
+You can control auto-saving behavior in Cursor:
+    
+1. Open Cursor → Settings → VS Code Settings (Cmd/Ctrl + ,)
+2. Search for "SpecStory"
+3. Find "Auto Save" setting to enable/disable
+    
+Auto-save occurs when changes are detected in Cursor's sqlite database, or every 2 minutes as a safety net.

Legend/Encyclopedia/Dragon.md

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+<!--I need an infodump to try to flesh out these concepts best...-->
+
+# Dragon
+
+*"If it's nigh impossible to slay a dragon, it must be inconcievable to kill its soul..."* - Lytheon the Prophet
+
+## Etymology and definition
+<!--Biological data TBD...-->
+Dragons (*Binomial nomenclature?*) are a species of unknown cladistical Domain or Kingdom, the only extant species of their kind. They are presumed to be native to [planet name], a planet in [system] and are, presumably, the only extant member of their species. They are the apex predator of their planet, and possibly, all of creation. They are immortal, but can be killed artificially.
+
+<!--OH DAMN I like the idea that Dragons were created out of Humanity's consciousness due to their Archetypical nature and THAT'S the origin of their immortality... Because the Archetype is that of a never-ending problem that can only be terminated via force... But canonically here, no hominid has ever killed one...-->
+
+Not much is known of their origin, but Draconian scientific literature suggests that their biological development began as single-celled Eukaryotes. Developing at a seemingly parabolic rate, they eventually becoming multicellular organisms that, despite possessing individuality, still maintain a network of cellular communication that effecively functions as somewhat of a morphological hive mind. They maintain a tribal morphology, but many of their biological capabilities change with time and extended contact with other individuals.
+
+Their species is largely endomorphic, squamate, quadrapedal, and hexapodal, with some [**gonian] tribes exhibiting primarily bipedal behavior and morphology. The only exception to this rule is the [] tribe. Despite their tribal differences, there is a prepondorance to their morphology. Their batlike wings originate around a proximal socket directly behind the shoulder, with Plagiopatagium[?] that extend from the back to the distal phalange of the fifth digit. Membranes encompass the entire wing. Their wings have no opposable thumbs, but the claws are seldom neglected to be used as additional appendages to assist the hands. Their hands are often mistakenly referred to as talons; the squamatic nature of the appendage's flesh makes them seem birdlike. But given that they have opposable thumbs, they are considered anatomically indistinguishable from hands.
+
+Dragons are a sexually dimorphic species and exhibit matriarchal behavior. Their reproductive systems began with an array of 32 barbs and terminals, but this polyphallic system was eventually supplanted with a monophallic one. Intercourse under the original system was so potently ecstatic that [the EGs] recall losing consciousness for an unknown amount of time, every time they participated in it. They concluded that they must stop breeding so much, so they somehow eventually agreed to adopt a less efficient, less potent system, and that cut fertility rates and mortality by a significant margin. The species has now decreased their carrying capacity to 1-3 per batch, which has caused each new generation to become increasingly more individualistic.
+
+<!--The EGs know there are 32 because they have been able to trace each batch, with remarkable accuracy, to there being 32 per batch. They have created both scientific and artistic representations of how that intercourse functioned, and how it felt. Several thousand[?] of their batches are lost, presumed dead. They keep the bodies and/or eggshells of their dead in a massive underground tree system beneath their central palace that serves as both a scientohistorical and religious purpose. They hope to rediscover the bodies of all their dead one day, and have posthumously named them. [The visionary female] claims to be connected with all her direct offspring and extended family. She is the reason the youth on the other side of the world are under protection and she uses her ethereal connections to communicate with them, giving them hope. They call her The Great Mother, and although they do not know her name, they consider it sacred, as her.-->
+
+## Evolution
+
+<!--How many base pairs?-->
+
+<!--Existence of supermicroorganisms that have co-evolved with them, why they can consume just about anything?-->
+
+<!--The [] Tribe originated from a [] century cult called [], modified their bodies as to resemble the [Dynician Diamondback] over a period of [] Dynician years, and eventually through sheer will and isolation from the cellular and ethereal network, their limbs disappeared, and their shoulders became vestegial.--> 
+
+Their morphology shares striking features to that of many creatures that, by all available evidence, share no cladistical commonality with them on the cellular or genetic level. This impasse is called the [***ean Conundrum.]. There are several schools of thought as to how this came to be. Darwinian Mammalists <!--kinda bad? use Dynician name?--> believe that they evolved from something like the Mesozoic egg-laying common ancestor of all mammals. Darwinian Iguanomorphists believe that their ancestor was an ancient Iguanomorph-like creature. Their total endothermism significantly complicates this debate, some theorize this suggests convergence. Preukaryotic Determinists believe they diverged from all other known life as Prokaryotes, and began to imbibe the morphology of other species before or after they became multicellular. This is largely supported by the scientific literature, especially considering the evidence that the Pre-Legendarian reproductive system was supplanted for a phallic system. They posit that the ethereal network exchanges information on what is the objectively most suitable morphology, and each node "votes" on which morphology to adopt to build upon their proximal locus. It's theorized that the brain, or a functional, sovereign prototype to it, came first, and other organs were either adopted or assimilated into their multicellular system. Whether this is via phisiological observation or ethereal mimicry, or why certain morphology seems to be postnatally <!--postnatal might imply post-womb, perhaps use post-egg terminology?--> non-negotiable, is unknown. []ian Creationists believe the Legends created them, and the universe at large. The [elder Gods] disagree, but have no irrefutable insights on their origin.
+
+## History
+
+This is largely discredited by the fact that the most ancient Legends, the [elder gods?] recall their first conscious moments dreaming, hunting and breeding, but only developed linguistic sentience within what must have been several million years of survival, during which there were only five known prehistoric [elder gods], who discovered each other post-sentience. There is no known fossil record to point to where they came from; if they hatched from eggs, they're long gone by now, and if there were more, they were possibly killed by each other pre-sentience without leaving behind evidence of their existence. One Legend, []iam, believes she recalls being mortally wounded, breaking all bones, and having a family with two parents and an indeterminate amount of siblings. <!--I love the idea of a mythological story that they have a HF and HM, and those who believe in that named the resultant religion after this EG due to her speculations... Perhaps she is the visionary one out of the five/six...--> The others deny having memory of this, but all of them are in agreement that they mutually decided, at a young psychological age, that if they were to continue breeding, they would have to do so sparingly, given the fact that their Batches delivered in sizes of 32, and their offspring was immortal. The fossil evidence is conclusive in demonstrating that there was no short order of homicide, infanticide, and familicide during this time. Eggsquashing originated here; though the females objected, the males convinced them on at least one occasion to use infanticide as a contraceptive. Eventually the females exiled the males in an event they refer to as [], and only reunited after negotiating their Willed Transfiguration. Keep in mind they were still only semi-sentient at this point, so they recall the events as you would a dream.
+
+Their first memories were of hunting, and eventually breeding. The first emotion any of them could remember was loneliness, hence all the breeding. They originally believed religiously, and now only speculate, that the five of them were originally of a singular entity that was split due to some major predatory event. They believe their Gold hue was chosen, likely because they yearned to be united again. They believe that sex was binary because the fracture of this singular being was down the middle, then fractalizing out. Each individual piece of the being, having vastly the same psychobiological axiomatic structure, all seperately came to the conclusion that they must keep their fundamental features intact, which is why they eventually evolved into the same morphology. Some say this begs the question as to why there were only two males to three females, and that a sixth [EG], a male, could exist or once existed. The [EGs] insist that if this were true, he would likely have died not long after the First Predation. [The males] lovingly speculate that their third brother must have been the smallest and thus "youngest" and that he must have sacrificed himself to save the whole. [The females] counter that he fled like a coward and karma soon caught up to him. So they call this theoretical Sixth brother Karma for different reasons. None of them believe, in earnest, that he ever existed, especially given the fact that if he ever achieved anatomical pre-sentience, i.e. became post-eukaryotic without sentience, that it's likely they would have interbred with him, and no fossil nor genetic evidence suggests a sixth genome having made it into the Draconian pool.
+
+<!--Bruh I'm thinking, what if it turns out to be true, and Karma did sacrifice himself, achieved sentience first, then agonizingly searched for his family, eventually fleeing the planet or something, flying past their atmosphere, freezing and becoming a satellite to their planet... Either way I love the idea of them discovering and potentially reviving or reuniting with this brother who turns out to be the older brother after all. Or that he's still sentient but asleep in an enormous cage of ice, and thus his being went to the only place he could affect, the ethereal plane, and was responsible for ensuring that his brothers and sisters maintained their psychosomatic and morphological structure, following in his footsteps... I like the idea that he watched over them, guiding them to a treasure he could not possess. I also kind of revel in the idea that he lost the will to live due to loneliness and that yes, his body still resides somewhere. Perhaps it left behind a soul/heartstone or something.-->
+
+Perhaps there were some morphological differences that ironed themselves back out post-sentience and post-reunion. Either way, they remembered their sexual dimorphism, even though [] and [] met first, meeting the rest one by one later, neither of them attempted to change morphology to mimic the other, which implies they each individually knew they were one half of a whole, and that they needed each other. It's very likely they were incapable of re-merging into one entity after they became self-sufficient and subsequently individualized.
+
+<!--Mythological story similar to that of Adam and Eve, where they were cast out of paradise and ended up where they were, but actually does have commonalities with -->
+
+## Habitat and population
+
+## Biology
+
+## Psychology
+
+## Culture
+
+Their governmental structure were largely tyrannies until...
+
+### Religion and Spirituality
+
+Written and oral traditions
+
+<!--Hmm, needs more jargon...-->

Legend/Mini Legends idea.fountain

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+Title: unnamed episode
+Credit: written by
+Author: Nathan Lindsay
+Notes: This script is not yet finalised.
+Copyright: Copyright not yet secured, can I go to bed now?
+
+/*The names often come later in pre-production, but I'm thinking this name ought to come from something about the fact that Sam and Kay are fighting in this one. Will find out.*/
+
+RAINY
+(worried)
+I mean, we could never work... You're a boy, and I'm a girl- Uh, I mean, you're a girl, and I'm a boy...
+
+KAY
+(unfazed)
+That's kind of how romance traditionally works, Raincloud.
+
+RAINY
+(flustered)
+Oh, right, well uh, you're an anthropomorphic fox, and I'm a dragon, and I mean, that just can't be done.
+
+KAY
+You're really going to bring race into this?
+
+RAINY
+You're right, I guess that's a bit of a low blow... Here's what I'm trying to say, it's not you, it's me, uh, I'm two-dimensional, you're 3-D...
+
+KAY puts her paw on her mouth, a tear forming in her eye.
+
+KAY
+(sadly, incredulously)
+Did you just call me fat?
+
+SOME OTHER CHARACTER appears seemingly out of nowhere.
+
+SOME OTHER CHARACTER
+(annoyingly)
+He did not!
+
+ANOTHER CHARACTER
+You guys, Raincloud just called Kay fat!
+/*Alternatively: Oi, you lot, Raincloud just called Kay fat!*/
+
+A crowd instantly forms, surprised at the outright misogyny as KAY bursts into tears, running away and pulling her hoodie around her, entering her egg state. Raincloud is left sputtering for words.
+
+RAINY
+No I didn't! Kay!
+
+/*some sort of instant cut I reckon, possibly to her arriving at home or to Sam awaiting Rainy's return or plotting something devious. Perhaps Rainy arrives to Sam and she's expecting to hear the news of how the "breakup" went...*/

boness4e26.txt

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+The final episode of Bones Season 4 comes right off the emergency of Booth (David Boreanaz) being hospitalized and operated on for an early onset brain tumor that was causing hallucinations. He reacts badly to the anesthesia, causing him to enter a four-day coma that leads to him hallucinating an entire additional murder mystery that lasts the entire episode. Each character is set into a sort of alternate universe where Booth and Brennan/Bones (Emily Deschanel) own a nightclub, ironically called "The Lab," which becomes a crime scene after a body was found. Each character is reimagined for this episode and it's really well done. Worth mentioning is that almost all characters and their aspects are sort of dulled to be less strongly at odds with each other, but it suits the story well. It's hard to show how good it is without the context of the rest of the show, but I'm going to list off the original characters and show what they transformed into.
+
+Seeley Booth: Empathetic but cocky FBI agent and ex sniper. Works with Brennan to solve murders and constantly tries to explain cultural norms and feelings to her. He works at finding motive and a guilty party, Brennan often tagging along. He has a dislike for scientists, which he calls "Squints." He is in denial about his feelings for Brennan for multiple reasons. He becomes the co-owner of the nightclub The Lab with Brennan, who is his wife and he calls Bren (rather than Tempy, which is the normal pet name for her that Jared and Max use). Same personality, but without the experience of being currently military or FBI, or with the arguing with Bones about the subjective, because of their relationship.
+
+Temperance "Bones" Brennan: Objective, logical, empirical, often robotic forensic anthropologist and fiction author working at The Jeffersonian Institute's Forensic Division, which has a partnership with the FBI for solving cases that leave little evidence but a body, oftentimes only bones, which is her specialty and why Booth gave her the nickname, which she initially hates, but becomes less annoyed about in later seasons. She works at finding cause of death and any relevant extraneous information about the case that could be found within them. Constantly, her lack of awareness to emotion and general robotic atmosphere causes Booth to tell her off or try to explain things as simple as why we tell children about Santa Claus or why people get married - two things she finds to be objectively unexplainable and a little silly. She is blissfully unaware of the connection she shares with Booth due to her distancing from her emotions, which she finds inconclusive and ephemeral. She becomes the co-owner of the nightclub The Lab with Booth. She's his loving wife, but as a co-owner of the club she's a cold, logical, yet not entirely unemotional leader of the business. At one point she inquires to Cam when she will be allowed to reopen her business, which Cam accuses her of being too cold, after all somebody died and she's worried about her weekly profits. It was an interesting interaction. She has mannerisms and actually freakin emotes and smiles so she's a very different character in stark contrast of her actual self. Perhaps this is more because of her situation; she's not a scientist with the need to be constantly objective and has a husband who she loves dearly, so perhaps if those two things were true of the true Bones she would also be relaxed enough to be less robotic; we see her in the rest of the show joke around sometimes but she does so in a way that implies she knows she's trying to be funny but isn't very sure about how funny she's being or that she's not good at it. This version of Bones is not as unaware of emotion. Oh and worth mentioning is that at the end of the episodes she reveals to her husband that she's pregnant, so they can't share a nightly glass of wine anymore, but the two of them revel in the prospect of having a child together, which ties into the final arc of the season quite well. It shows that the inner thoughts of Booth are very happy to have a child with Brennan, though their relationship isn't there quite yet in the main continuity.
+
+Camille "Cam" Saroyan: The boss of the Jeffersonian Institute's Forensic Division. She worked with law enforcement as a coroner, so she has a lot of experience finding cause of death on fresh bodies. She previously had a relationship with Booth and has known him and his brother for a long time. She came out of nowhere in season 2 because the writers decided the team needed a boss higher than Bones. Their previous "boss" was the director of the Jeffersonian, who canonically took a sabbatical and then a permanent leave of absence, likely because the actor quit, and the writers conjured Cam for this reason. It's one of the many things they just kinda forgot about for production reasons and never properly addressed in-continuity. I agree that they needed an actual head of the Forensic Division but her integration was forced initially. Eventually she finds her niche and fits into the plot pretty well. A lot of the time she butts heads with Bones; she's a coroner and always has first say in inspecting the corpse to try to determine cause of death, while Brennan wants to clean the bones so she can do her job. At one point in s4, Cam puts her foot down on cleaning the bones so she can rehydrate a corpse that was dehydrated in salt, which leads them to find the cause of death when they otherwise wouldn't have, which humbles Bones and was a pretty good moment. As the boss, she ends up being the badguy in many situations as is necessary. She becomes a detective in this world, actually taking Booth's office set from the real world, and ironically has to deal with all the employees and Squinterns being frustrating like she usually does, just in the context of them being investigated for murder.
+
+Jared Booth: Seeley's younger brother. All his life, Seeley took the fall for him and kept him out of trouble. Eventually, he climbed up the ladder in the military and became very successful, while Seeley protected him and didn't become as successful, becoming an FBI agent with a desk job plus some detective work. In S4 when the writers decided to make him exist (lullers...) Seeley didn't protect him, and then Jared saved his life and it cost him his job. For as spontaneous as his introduction to the show was, they had some good development between the two, but he's definitely frustrating in main continuity because of the way he treats one of the most important characters. In the new continuity, he's still Booth's brother, but he's a detective working with Cam as his partner. His involvement in the plot of this story prove his devotion to his brother, because he saved his wife, Brennan's, life. ||He killed a man in their club who was sent there by a mob boss to assassinate her.||
+
+Angela Pearly-Gates Montenegro (yeah that's actually her canonical name :TrollNeutral:) probably the worst character because almost all the worst writing decisions and worst plot points revolve around her. The writers really don't know how to make her work. She's a bit of a promiscuous girl, an artist, who started working at the Jeffersonian when Bones, a good friend of hers, realized her skills could be useful to the team. Her being an artist doesn't make much sense, because her skillset is sort of just magic that can fix any tech problem they have, I think they should have either given her either a coworker/assistant who does the techy stuff, or she could have gone to college with Brennan and been trained in some top-of-the-line experimental tech, because she does impossible stuff all the time that would lead the viewer to assume she has more training than the show actually gave her canonically. Either way, she at her strongest acts as a raisonneur for Brennan, explaining to her what she needs to learn, though many times she's an unreliable narrator for the situations Brennan goes through. At her weakest, she's a plot device used to create drama between herself and her coworkers, especially Hodgins and Cam. My favorite arc of hers is when she decided to stop having sex and she just became uncontrollably flirty due to the pent up energy and I enjoyed her interacting with the other characters as she suffered. Anyway, she becomes The Lab's Hostess, and is essentially the same character, luckily none of her previous annoying flaws ruin the plot because this single episode is in a fictitious continuity.
+
+Max Keenan: Brennan's father, who abandoned her as a teenager, which effectively caused her robotic nature and devotion to empirical facts. He was a chemistry teacher in K-12 schools and is actually a convicted felon, for killing a man who was hunting down Bones (I believe in s2). Bones' legal name is Brennan because her parents were Bonnie and Clyde types; professional con artists who changed their names and had fake identities very often. She has a very resentful attitude towards him most the time and often fails to remain objective when he's around. In this continuity I don't think he's her father, but rather a local politician who wants to convince Booth to give him a bribe to supposedly protect their nightclub from "the Gravedigger," a mob boss who is supposedly fabricated by him. When talking about this to Bones, he says, "He's a man of principle, and I mean as a terrible insult." which is probably the most politician thing I've ever heard. ||I don't actually remember if he was actually the Gravedigger and responsible for sending the assassin all along. I think that's what the writers intended but the ending focused on Jared a bit more...||
+
+Jack Hodgins: the Forensic Division's entomologist, botanist, and mineralogist; he specializes in plants, dirt, and bugs and has incredible capability in figuring out where trace amounts of any of the three came from. Very standoffish, big ego, conspiracy theorist, coming from his background as a kid in a rich family. His view of class structure makes him resent that fact, and he works at the Jeffersonian as part of the double life he lives. He has a fortune to his name, but hates using these resources. Often, he and Zack/the Squinterns (Zack Addy and the Squinterns sounds like a BANGING band name ngl) are behind exciting and potentially dangerous experiments in loose relation to the case they're working on, much to the chagrin of Cam. He had a fling with Angela in s2-3 that disrespected his character a LOT. To the point that it took what I theorize to be another writer going back and trying to make him a sympathetic character by taking his past conspiracy theorist side and replacing that with anger and sarcasm as a coping mechanism for Zack's largely exiting the series and Angela's (and partly Cam's) dirty treatment of him. It takes a previous therapist character to fix this, idk when we see a character need to talk about two extreme things that happened whose impact on him were highly forgotten, it may be an indicator that those things (namely Angela as a whole and what the freakin writers did to Zack) are kinda trash. Anyway he's the narrator of this one-off story, but is also within it as a true crime writer who shows up to the club and sort of helps investigate. I really like him in this.
+
+Zack Addy: Brennan's protege, just as objective and a tad more socially unaware. Probably massively autistic. Eventually became a good friend of Hodgins and lives with him (or at least on his property) for a time. Him and Hodgins often proclaim they're "King of the Lab" when they make a break in a case by being extremely smart. Their friendly competition was extremely endearing and so was his relationship with the rest of the gang. The writers ruined him. They made him the apprentice to an evil conspirator who was essentially a Cannibal Sith. It's the last thing you'd think they'd do with him after s1 and it's terrible. Essentially he claims he was convinced through objective reasoning by this man to kill and eat someone, but the writers attempt to retcon this in s4 when he reappears for a brief episode, but he refuses to tell the truth, that he didn't kill or eat anybody, so he remains in the psychiatric hospital after being returned from breaking himself out to help the gang. Future writers retconning terrible outcomes for loved and established characters could be another indicator that your writing sucks and shouldn't disrespect the characters. In this continuity, he's an employee of The Lab, nowhere near as smart. Nigel-Murray actually refers to him as "an idiot who would go to jail for someone else's crime" and I like that dig at the previous writer's mishaps. I always love to see him on screen, but he wasn't really the Zack I came to love in s1-2, who I'm afraid I won't be able to see in the show ever again.
+
+Dr. Lance Sweets: FBI psychologist whose job is to ensure Booth and Brennan's working relationship is stable. He sees them both as parental figures to a certain degree, and his character is pretty well developed by some actually good reveals later in s4. I hesistate to call the reveals good in this show because have a bit of a bias against them; every time they make a reveal it seems very conjured up and contrived, what with Cam appearing and having history with Booth, and then Jared appearing when he should have in previous times especially considering his life was in danger and he should have been there for him previously, Angela's father and real middle name being just retarded, ESPECIALLY what they did to Zack... but I digress. His revealing to have abusive parents and scars to show it, to be adopted by two very good people and then thrust into the world where that trauma still exists, with him looking up to Brennan and Booth as parental figures that could help him get the real sense of belonging he craves was a really good choice for his character. Brennan and Booth initially don't take him very seriously due to his youth, lack of masculinity and life experience, and his attempts to tell them what to do, especially considering Bones considers psychology to be a non-objective pseudoscience. The two of them eventually warm up to him by sharing previous trauma, and Bones tears up in that scene and I love it. Booth becomes incredibly agitated when confronted by the thought of his abusive father, so his trauma sharing was quite brief, but the effort meant a lot coming from him. Anyway, in this episode he's the bartender, ironically stating at one point that that makes him "practically a psychologist," which is funny. He plays an important role in speaking to Hodgins, the crime writer who appears to be a bit down in the dumps over his current writing project. Booth also mentions at one point that he's fond of him, which is possibly another insight into Booth's psyche and feels really good to hear due to Booth's refusal to give Sweets the time of day and respect he deserves and to a certain degree, craves. It's a great payoff considering the last time we saw real Sweets was when he was having a small breakdown worrying about Booth's condition. It's a touch of great subtlety and charm in a show riddled with issues with those two things.
+
+Caroline Julian: sarcastic, distinguished, and harsh lawyer with a southern drawl. One of the greatest recurring characters. In this continuity, she's still a lawyer, who is hired by Booth and Brennan to protect their interests and employees during the investigation. She urges the employees not to speak much during the investigation, and we get to see them exasperate both her and Cam.
+
+Grayson "Birimbau " Barasa: Angela's ex-husband who she met on vacation in Haiti (i think?). As you guessed, he's related to Angela, so his arc wasn't very good at all. Essentially Angela got drunk and eloped and totally forgot him because she's a terrible person, but the marriage was legally recognized and she needed a divorce to marry Hodgins, but he doesn't want the divorce because he loves her, he's a very good man who waited for her and even built a house for her, but is eventually convinced to sign the papers. Actually he refused to sign the papers because bells rang when they kissed, which he thought was an omen of true love, but then he sees Angela and Hodgins kiss and a bunch of bikes go by ringing bells, so he takes that as an omen and gives up, but then Cam sleeps with him when he missed his flight (and then does AGAIN), which she feels guilty for and reveals to Angela and Hodgins, which ruins their relationship because apparently they were lying to each other when they said that her ex-husband showing up and sleeping with their boss didn't bother them. Yeah that was retarded and I hated it but whatever. In this episode he's the brother of C-Sync/Clark and a local gang leader and self-described killer. He has an unseen altercation with Booth, demanding that his brother be able to perform in The Lab, and later, the two of them are handcuffed next to each other to begin to be interrogated, but Cam and Jared just watch them talk instead of interrogating them and they get all the information they need. The two of them agree to allow C-Sync to perform, attempting to handshake, but are both blocked by their cuffs, so they fist bump with their other hands instead, which is quaint and made me smile. Though I do think that scene would have made more sense. I was expecting Booth to say "I can't just do what you want because you beat me up," and that would have been more consistent with his character, even in this continuity, but I may have misinterpreted what happened in the fight because it might have been implied or revealed that Booth instigated it. Idk I have to watch it back. It's kinda weird that they took two unrelated black characters and made them brothers, one a rapper the other a gang leader, but I guess that could be an indication of a subconscious racism that Booth has, since this is his dream. Could also be just production being lazy by deciding "who are the actors we can call back who are willing to work with us and are also black" and just using them for very stereotypical roles? In the continuity itself it's ok, but in context of it being a dream and these characters having nothing to do with each other or being even remotely as... whatever they ended up being, was weird. Actually, a lot of the things that Booth's brain conjure up are less congruent to hallucinations or fever/coma dreams someone may have than they are to a studio trying to do wacky, unexpected, and downright supernatural things, in two out of three cases just to have a famous person represent themselves in canon.
+
+The Squinterns: small group of Squint Interns that cycle in and out as a replacement for Zack. They're actually quite good for the most part, but not all of them are in this episode and some of them got fired or quit. In this continuity, they're all employees at The Lab, and all assume that Booth and Brennan murdered the victim, but are so loyal that they obstruct justice by refusing to cooperate, lying, and even destroying or attempting to destroy evidence that could implicate the two of them. Booth and Brennan would normally be very frustrated at that, but they take it less harshly, probably because their jobs are not to solve crimes in this case, which is a nice touch. They even say, ironically, at one point they feel sorry for Cam and Jared and are grateful they're nightclub owners and not crime-solvers.
+
+Dr. Clark Edison: the first Squintern to be introduced because Zack went to Iraq for an episode or two. Attempts to be as professional as possible and focus on work, and considers the Forensic Division's workplace to be unprofessional and uncomfortably full of drama, which he prefers to stay out of and will straight walk away when it comes up (funny his name is Clark, because he nopes out of stuff that Nat would all the friggin time lullers). This is especially funny when Angela goes through her honry arc and flirts with him, causing him to angrily introduce her to his girlfriend to get her to stop, but the two of them get along quite nicely which frustrates him a bit. The wiki keeps spoiling me and aaapparently they retcon his standoffish attitude by making it due to some past trauma and I'm SO not excited for this show to become not good again... Anyway, in this continuity, he becomes C-Sync, a rapper who wants badly to perform at The Lab, but due to his boasting about his brother's gang ties, runs into some pushback from Booth and Brennan. He calls booth racist in this interaction, but perhaps the implication is that more that he has some sort of out-group bias than hatred towards black people. It's kind of weird because racism has only came up in one other instance, s1e2 I believe. (Brennan is in a club with Angela, and she talks about how, anthropologically, hip hop music shares similarity to tribal music and observes that some tribal attitudes are reflected in the lyrics, which offends the black people around her, unbeknownst to her. A good example of Bones being a little too objective and un-empathetic. Then they find a mummified body, interrupting the discussion.)
+
+Mr. Vincent Nigel-Murray: pale British intern who has an annoying habit and stress-coping mechanism of randomly stating strangely detailed fun facts that are often irrelevant to the case, which frustrates Cam and confuses Brennan. He's one of the Squinterns that enjoys and aids Hodgins' boyish experiments, often just inflicting damage to props by blowing them up, beating them, or dropping them off the railing of the second level of the lab. He becomes the DJ for The Lab, wearing a red V-neck and a black fedora. It's a pretty funny character change. He's a fan of C-Sync and greets him by fist bumping him in the most white way possible, which prompts him to say "you're lucky you're a british albino" to which he replies, "cheers." He also finds the murder weapon, a gun, and wants to dispose of it because of how British he is, which is also pretty funny. The dialogue emphasizes it a bit too much though, for it being one of the only times one of his big decisions is driven by his Britishness.
+
+Daisy Wick: annoying young intern, a bit squeamish, doesn't listen to instructions properly, very awkward. Assumes she's much more like Brennan than she actually is while seeing her as a role model and inspiration. Surprisingly I really liked her and was a bit frustrated that some of the writing decisions made her retarded on purpose, leading her to getting fired because the team hated working with her. Her and Sweets hit it off really well when she mentioned she minored in psychology, which they bond over really well and develop a relationship, which they briefly keep secret until he breaks the news of her getting fired. They have some really great comradery for being a bit bullied, condescended to, and not taken seriously by the rest of the team. She becomes this somewhat slutty bimbo who has a relationship with Fisher, calling him her boyfriend when they were just making out because she couldn't control her hormones, which understandably frustrates Fisher. (sounds reeeeally familiar to someone I know who didn't know the difference between a friend with benefits and a boyfriend... don't call it a relationship until you're sure, mkay? that advice is for free.) A bit disrespectful to her character. She badly plays the tambourine for Sweets' band's audition and falls in love with him on the spot when she hears him sing his sappy lyrics, and they make out and are implied to do other things as an aftermath, which is pretty funny.
+
+Colin Fisher: depressed, emo, sometimes goth, yet quite adept at his position as one of Bones' many temporary assistants. I love him. Like Nigel-Murray, he constantly makes unrelated, albeit shorter unrelated comments, relating mostly to the inevitability of death. They're always used for comedy, which has no objective harm to the show, but definitely shouldn't be any indicator for how you should treat someone who has constant suicidal or depressive ideation. Don't be his coworkers, take statements like this seriously instead of awkwardly trying to brush it off as quirky. In this continuity, he becomes an accomplished Chef for The Lab, and is far less ridden with personal issues.
+
+Arastoo Vaziri: kindhearted, soft-spoken devout muslim, presumably Persian/Iranian judging from his name and where it originates according to google. He speaks with an accent and takes breaks in the lab to pray, as is customary in his religion. The other characters experience a bit of growth of perspective due to this. Bones finds "all religions to be irrational," which is equivalent to her character and harbors no prejudice, but Hodgins brings up bombs and terrorism on at least one occasion and agrees to Cam's assertion that he "distrusts muslims" which may be in alignment with his conspiratorial and dismissive character, but probably wouldn't be something most writers would have the balls to write about today. Vaziri doesn't take offense to this and simply tries to bond with or prove himself to be a good man to Hodgins. He does a similar thing with Angela. What a sweet person, I love him. The drama he's involved with is funny and he's never annoying, a great addition to the Squinterns. In this continuity, he becomes an American tycoon trying to buy out The Lab, jumping on the lowered price that a fresh murder would create for a public business. I was literally pogging and so shocked at the character change from a humble, kind, muslim man who speaks with an accent, to a self-serving, confident, and very American businessman. It showed real range in Pej Vahdat's acting ability and I want to see him at the front of more media now.
+
+Wendell Bray: probably the weakest Squintern. His introductory episode saw him utterly confused with Brennan's mannerisms, him mistaking her questions to be romantic/sexual advances. This was sort of central to his character and wasn't given much clarity or enhancement in s4. In this alternate reality, he's a security guy, presumably the head of security. He's the most devoted and loyal employee, awkwardly refusing to say a word in interrogation, simply glaring, and even threatening to kill C-Sync's gangster brother when he believes he's beating Booth up.
+
+Overall, this was the best season finale of the show and possibly the best season so far. Apparently this isn't the only alternate reality Bones episode and I'm quite excited for that. I kinda friggin adore seeing the same characters repurposed for a slightly different story in a new continuity. Seeing characters interact in situations that are impossible for their characters to be in is very fun, which is kinda why I also wanna see an alternate reality Rango that takes place in space, but that is neither here nor there, is it.

destruction/2020-04-24 Knives Out.txt

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+Review written 2023-06-04. I believe I rewatched it perhaps two other times between my first watch and now.
+
+This film and its sequel tricked me into thinking it was clever. It thinks it is, but it's not. It wasn't until I heard several criticisms that I realized how contrived and messy so much of it is. It's well shot, well edited, well acted, and I certainly found it entertaining, but Rian Johnson clearly knows only how to tell broken stories, some of which are crafted expressly to trick the audience into thinking they're clever. Complete with obnoxious dialogue making petty attempts at social commentary and pop culture references that aged before the films even release. Watch Clue (1985). It's far more clever, funnier, well-written, and has aged far greater than this film will. Even The Private Eyes (1980) is more internally consistent, albeit far sillier.

destruction/2022-01-17 alex pc.txt

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+07/25/2021
+
+- blu ray
+- clear side panel
+- rgb of some kind
+- bluetooth is more important than wifi
+
+stuff I need to bring:
+- thermal compound
+- twist or zip ties
+- monoprice velcro cable ties
+- "ifixit" kit
+- static discharger thing
+- additional screwdriver
+
+@Dr. Vey117#9699
+this is the completed parts list :sunglasses: https://pcpartpicker.com/user/RaincloudTheDragon/saved/pdkrD3
+
+so just a few notes:
+- g2a windows of course, but that comes last
+- i will direct your building of the machine but a PC isn't yours unless you install at least the CPU yourself. Dumbledore said that.
+- I'll help you set up software stuff i.e. drivers, windows update, and steam library
+- not sure if the power supply or motherboard comes with the two required SATA data cables, worst case scenario we run down to a store & grab some
+- keep in mind that if you can find a cheaper monitor or a used one from the DI or your dad or whatever this can bring your overall price down quite a bit although you have to keep in mind input method just in case you need to buy a VGA adapter or sum, depending on the video card you end up choosing you may be limited to either hdmi, displayport, and DVI, or just hdmi and displayport. (I personally use an HDMI to VGA adapter from ONN; there are plenty of options for this scenario :yum::v:)
+- I would HIGHLY suggest looking into this great deal for a used GTX 1660 6gb, the original card is worth about $230, and $180 is a great deal and also this card would be arguably better and for less (although I'm only 85% sure there would be clearance for it in the case) consider it before someone else buys it because this is a great deal https://www.mercari.com/us/item/m66173024620/
+- had to use a wifiless motherboard (same as mine in fact, also note that this decision took off ~$100 from the budget)because all the ones with onboard wifi were far too expensive, so you can make the choice between the two usb adapters, one is wifi + bluetooth and the other is just bluetooth, wifi one just costs a tad more
+- because your video card is better than mine I will pester you to run shaders on the server and test stuff out
+- arguably this machine will be better than mine and will have cost you less :pensive: i need a job. or a 1660.
+
+1/17/2022 (built 1/15/2022)
+
+Tons of fun building this with and for a friend. One of the best parts was the motherboard. If I had to change a single thing, it'd be the case.
+
+To start off, I've built or rebuilt 3 PCs with the 2600. Great processor for the price point, especially if you can nab a used one like we did here, as its price has fluctuated significantly since I first bought one in April 2020. (You can get one used for $100 if you're lucky, but it goes for upwards to $340 brand new. I had originally bought mine for around $270.) Despite my liking of the 2600, I have a bit of disdain for the Wraith Stealth. Having the AMD logo sideways was always a weird design choice, but I'd never tried to rotate it until now, and that was a bit of a disaster. Their current design is so close to a simple release of the decorative shroud on the top, to a click back in at a 90 degree rotation, but they decided to make the top shroud screw in, which means you have to remove the fan from the heatsink as well. If you don't ensure that the top shroud is mounted properly, you may accidentally snap part of it trying to screw it back in as I did. I should have been more cautious, but they could also have either made it easier to reorient the shroud (6 screws is ridiculous for such a small change), or just make it come in a non-sideways orientation in the first place to help the OCD crowd like me. In any case, at least my mistake didn't effect cooling. I also much prefer the Wraith Prism for its use of mounting brackets alone. So much easier to install and a lot more peace of mind when it comes to proper thermal contact, but the Stealth is still adequate and a good addition to come with this relatively low-priced processor. I was unable to check the processor's thermals due to software difficulties but I assumed them to be adequate.
+
+The 2600 has a maximum ram bottleneck of 2933 mhz. This is only a problem if you don't know it or you're confused about your motherboard, or rather, if your motherboard itself is confused... The other two 2600 systems I've built, both sporting ASRock motherboards, were perplexed with this bottleneck. One of them was able to boot at the modules' rated speeds, and could even run games somehow, but would blue screen because the CPU wasn't capable, so applying it to manually run at 2933 did the trick. The other would bootloop even if it was manually told to use 2933 mhz. The auto setting selects 2133 which is less than optimal. (This issue may be remedied in a later chipset or revision of the boards in question. One was the A320M and the other the B450M, respectively. When I search for a replacement I'm less likely to choose ASRock for this and other reasons.) In this build, the Gigabyte B450 Aorus M did not disappoint. It immediately detected that the ram's max speed was 3200, but that the processor's bottleneck was 2933, and applied it immediately with no issues whatsoever. I was pleasantly surprised. All motherboards should be like this.
+
+The ram itself is decent for its price, but was concerningly difficult to remove from its plastic casing. I've never dealt with ram being so tightly packed in its plastic. No problems installing.
+
+We went with the trusty Crucial P1 500gb for the boot drive, and for once I got to use a motherboard with a built-in NVME heat spreader. Again, this mobo is great for its price point, even without wireless networking. I would have preferred a used drive with more storage to replace the 1TB (you can get a used 3tb for the same price no problem) but new hardware with warranties are always nice.
+
+Aresgame makes some pretty adequate PSUs for great prices. This is the second one from them I've used. Who needs modular when you can run a 2070 Super on a $34 PSU? Great for smaller budgets as long as you're willing to deal with a lack of modularity. I wish I had done this with my first build. On the topic of the 2070 super, our Zotac card was detected to be too big for this case by PCPartPicker, but it fits just fine in the top PCI slot and if the drive cage was removed it could fit on the bottom as well. If it weren't for my disdain for this case, I would try to get this fixed so it displays properly on the site, but I will soon provide many details on why anybody hoping to build an MATX Mini Tower system, especially with an optical drive, should steer quite clear of this case.
+
+What a great build. I sure hope the case is just as good...
+
+The Deepcool Matrexx 30 MATX Mini Tower case is the most egregious display of design inadequacy I have ever seen. It looks just fine for its price, and we chose it because it had an optical drive bay. This was the biggest mistake of the build and I'll describe why, extensively. If you want only my final thoughts, read my final paragraph.
+
+First off, cable management and simply the ability to fit your cables where any other case would allow you to is a nightmare. They could very easily get away with an additional quarter inch and it would mean a world of difference. I don't see why MATX Mini Towers tend to squeeze from the back panel so much and leave it to the panel itself to jut out from the case, it's frankly unnecessary. It doesn't need to be that much bigger to be manageable.
+
+The drive bay is serviceable. I appreciate the amount of options it supports. I will be contrasting this case with a more competent, albeit more expensive case for the same standard, Fractal Design's Focus G Mini, which I've built in previously. This case, in comparison, has only two 3.5" drive bays, though the caddies it comes with create a superior mounting experience.
+
+The rear PCI features three classic bend-and-break covers and one regular, cheap cover with no holes. I would prefer all or at least two of them to be like the first. It's just a waste of resources and leaves the rear coverless if you need to experiment with mounting in multiple slots.
+
+This case does not know how to agreeably function with the MATX standard. The standoffs to the far right of the motherboard were not installed in the case, I found this odd but I quickly realized that the designers of this case were not prepared for the user to install a MATX board; the cable management holes to the right fall UNDERNEATH the motherboard and are utterly blocked by it. This forces you to either route the cables through the hole behind the sata SSD mount further to the right, or to forget routing them through the back entirely, which would be far easier but obviously not pretty. If the SSD mount didn't have this hole, you would be required to use the ugly option. At least you could fit the side panel on with no trouble. Additionally, there is only one small port next to the PSU for routing its cables, though this is hardly its greatest flaw. There are approximately zero routing holes on the top despite there being space for them. Your CPU power cable will float in your case and there's really nothing you can do about that beyond creating your own modifications.
+
+This case has less than stellar airflow. I observed other reviewers saying they were completely unable to mount a fan to the front and thus being required to resort to messy tactics and case modding to mount, but I didn't have much trouble myself. I believe you would have to cut the front panel in order to install a fan or two in the front to show off RGB better, but I'm not entirely sure what other users were encountering or attempting with their fans. I'm fairly certain mounting two 120mm fans at the front is possible yet difficult and they really could make that easier. There is plenty of space for two additional fans to be mounted on the top. I have no idea why they didn't opt to just cut some holes in the top, especially considering they didn't have to worry about blocking the nonexistent cable routing holes. A common theme with this case is that the design does things it has no space for, and doesn't do things it does have space for. The Focus G Mini has this additional mounting space and two 120mm fans can be mounted on the front with none of the struggle or confusion. It even has a great mesh and dust filter. It's a far easier MATX Mini Tower case to build in, and while I'm not without my gripes with it, it's still vastly superior.
+
+The front panel's features are average. I really like its buttons, they're more satisfying to press and may even be higher quality than the Focus G's buttons. The power LED is just fine as well. The HDD LED is not only red, but it's on the reset button. This is a bizarre choice. It really makes it seem like there's something wrong and may even prompt an inexperienced user to press the reset button. The Focus G, by contrast, has a separate indicator light in white, as is more common.
+
+The front panel's cables are completely connected to the front panel. I have never seen this and it's not preferable. I don't like the idea of pulling the front panel off and having all the cables come with it. Again, Fractal's Focus G Mini avoids this crisis entirely. The mesh in the front hardly qualifies as a dust filter and if it weren't for the lack of airflow, you would be very worried about how dusty this system would become. It is visually pleasing though. What's not visually pleasing is that the inadequate design of this case in being completely unprepared for the MATX standard causes the 24-pin of your motherboard to prevent the optical drive from being mounted without jutting out of the front of the case a good inch or two. This is the most embarrassing aspect of this case's design. The entire reason we picked it was because it was the cheapest, most good-looking case for the MATX standard that had a 5.25" drive bay. What we didn't know was that this was a sad display of an attempt at an MATX case. This case needs an additional 1-2 inches out the front if you need both an MATX board and an optical drive. The only solution to this failure is to either modify or replace the case. Again, the Focus G Mini succeeds in that it sports two 5.25" bays with the ability to mount it on the upper or lower bay. (In that case, my fans were obstructing the drive if it was mounted from the top, but I could mount it on the bottom with no problems whatsoever.) This case only allows the lower bay, which perplexes me, because then it doesn't need the standardized double bay in the first place. I'm even fairly certain it would have the space if it had a hole to be mounted in the top bay, especially considering there aren't any fans or cable routing holes to obstruct it, though again, that's hardly a good thing. It almost makes me wonder if they intended you to only install some sort of front panel modification into the 5.25" bay. Regardless, a standard optical drive is impossible to fully insert into this case, is unable to be screwed in without jutting out even more, and even pushes back the mess of front panel cables that really should be separate from the removeable front panel and routed to the side into the back in the first place. Again, this case loses out to the Focus G Mini and probably a plethora of other cases that *actually* abide by the MATX standard.
+
+I may look to design a 3d-printed modification that adds an additional inch or two to allow the drive to be mounted properly. If so, I will update on how it went. It may be more trouble than just getting a better, more suitable, more competently designed case.
+
+The Matrexx 30's only saving grace is its side panel. It's tempered glass with thumbscrews. That and its size are its only victories over the Focus G Mini, which is larger and has a less than stellar acrylic side panel.
+
+An ITX board could potentially remedy many of the issues I've outlined, but there are far too many good ITX cases out there to deal with the other pains of this case. For a similar price point or perhaps $10-20 more, you could get a case with none of these torturous issues and just as much prettiness. My Focus G Mini from Fractal, for around twice the price, has some of the same issues but again, is vastly superior. There are likely to be a plethora of options that are even better and more worth your money, but I use this example because it's the only other MATX Mini Tower case I have experience with. Many others who have built in this case say that you are getting what you paid for with this case. I disagree strongly. This case is cheap, but there are cheap cases created with cheap materials that have a fraction of the headache that comes with this one. In my eyes, a cheaper case shouldn't be lazily designed, but rather created from cheaper materials, not supporting as many features, or coming with less accessories. Purchasing a cheap case shouldn't result in features literally failing to function as intended or parts that are intended to be used in the case being unable to be installed without creating significant difficulties for the installation of other parts. I contend that this case is too expensive for its design quality. It would be more worthwhile to purchase if it entirely removed the optical drive bays. I would rather build in a cheap case with less features than in a cheap case with horrendously botched and dysfunctional features. Again, I don't see why competent manufacturers can't create a case with good design fundamentals for gamers or other users on a budget. It certainly goes to show that when you pay for a part, you must pay for good design and well-implemented features first, and visual impressiveness second. **In conclusion, no matter how low your budget is, if you are trying to build an MATX Mini Tower PC, it is worthwhile to spend a little extra to get a case that successfully abides to standards and implements its features properly. The price point of the Matrexx 30 is not worth the difficulties you will encounter building in it, not by a longshot.**
+
+Thanks for reading and I hope you found my extensive and long-winded description informative. I am considering converting this into a video.

destruction/2023-01-19 i hate ajr.txt

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+I gave AJR a shake after hearing a couple songs and hearing about the relationship between Jon's fans and their fans. I really like Living Room, it's got this childlike allure to it and the sound is really unique with their dubstep influences, a lot of the concepts they portray in that album are executed in an interesting way. I'm willing to give most of Living Room a pass for it being released in the very beginning of their careers, but I really think they had this spark of hope and creativity that kind of got squashed out lyrically after that album; after that, their sound becomes a bit derivative and the more creative elements of their music are overshadowed by their awful lyricism.
+
+It's fascinating going between some of my favorite artists vs AJR and seeing some of the cringeworthy things they will say in their songs. The overall issue I have with their lyricism is that it's extremely on the nose and they talk about shallow, boring things in a shallow, boring way. Contrast THC with The Click. THC had Woodstock cut from it because the vision of the album was focused on being able to be listened to by any human and to be able to relate to the concepts, feelings, and experiences in it. The Click is sort of all over the place, thematically focusing on partying, alcohol, and the artist's complaints with being an artist and not getting enough attention. At its best it focuses on childhood nostalgia (Sober Up) but it's quickly overshadowed by poor lyricism. Netflix Trip has an interesting premise: describe your life as though it's a show being binged on Netflix. But it's so on the nose that it hardly leaves you wondering about it later. A Jon song, you can listen to many times over months and months without realizing what it truly means. An AJR song tends to be understood by the 2nd listen and gets old really quick. Jon's lyrics are far more mature and frankly more intelligent. In Cautionary Tales, Jon speaks of an elusive artist from the third person, shutting down fame, hiding in the shadows, but keeping his pen sharp enough, striking down gods and killing armies. AJR talks about being happy about not being famous (I'm Not Famous), cutting off friends and avoiding people due to being a workaholic (Come Hang Out), wondering if someone they thought were cool as kids thinks they're cool for being famous (Joe), and, most frustratingly to me, if a popular brand of headphone sponsored them, they could pay $20k for the recording costs of the song itself (Beats). It's boring and unrelatable. I hate hearing the juxtaposition of someone bragging about how they played shows in Belarus (Joe) and around the world in general, yet he can't get his shit together and pay for his own drinks and how he wants his friends expecations for him to be so low that him adhering to the bare minimum expectation of paying for your own drinks makes him a hero in their eyes (Bummerland). I feel like playing shows around the world and creating certified platinum records should get you enough money to buy your own drinks. It's just kind of pathetic and frustrating to listen to as someone who makes $13/hr and yet can still buy my own shit. He speaks of not being able to choose between playing live shows on tour and literally being there for his partner giving birth to their child (Christmas in June). IDK about you but if I was having a child I'd probably prioritize that over anything else. Again, it reads as pretty pathetic. AJR fans tend to disagree with this one but the line "if you're racist don't come to my show" just comes off as the singer patting himself on the back for being against racism as if that's some big achievement (3 O'Clock Things). Racism is also brought up briefly in Birthday Party, which is also an interesting concept that's butchered by poor lyricism that often just comes off as again, cheezy and a bit condescending. Nobody should expect to be worshipped for treating people equally, that's kind of a baseline for being a good person. Jon's lyrics about everything, up to and including racism, is far more mature (Let's Begin).
+
+Lyrically speaking, their best song is probably Ordinaryish People. It took the concept of not fitting in and explored it in a much more interesting way than perhaps all of their other songs. And it has the Blue Man Group so automatic win.
+
+I think their true talent lies in their production. They never fail to mash interesting sounds up with interesting concepts in a great mix. However, this talent is lost on their poor lyricism and I'm hoping their upcoming album won't be more "cool concept, cool instrumental, shit lyrics" like it was in practically all their work. If they grew up lyrically then Jon fans would probably stop seeing them as the annoying little brother. I just want them to improve and mature with their art because it's frustrating to me to see how it could have been better.

destruction/2023-01-23 2005 marvin's.txt

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+01 Good Day: It's amazing that you can hear little laughs and the "if you have a computer" etc ad libs so clearly. Tempo is dramatically increased (or just doesn't slow down in comparison to 2008?) at "why and by" which I really like. I'm not sure if that's because it just has more energy or because I'm not used to it.
+02 Greener: I'm sad they abandoned the hard panning for the intro licks. Having the 2-note base with the chords alternating from R to L is really great. Andrew's keys again are so prominent and I really appreciate it. The solo plays mostly in L and echoes softly in R, which is so sexy. Hearing and singing along with the harmonies in the chorus used to be really hard but it's so easy to hear in this version.
+03 Welcome To Tally Hall: You can actually hear the original samples and so much stuff in the background in the intro. I didn't even know there was a door opening. Joe's beatbox sounds so much more organic. Joe hard panned L and andrew's keys on R :cook: Zubin's vox sound extremely different to the 08 rerecord. I really like Joe's rapping takes too.
+04 Taken For A Ride: The transition from 03 to 04 in the 2008 version is vastly better. The hard 808 type sound is interesting but a bit jarring. Very interesting to hear the background vocals kick in earlier with a ton of reverb. Also no fermata; they keep in time or close to in time. I think the strings in this version are synths! Andrew's talkbox doesn't get drowned out in the lalalala part! Love the massive amounts of reverb on this whole track but especially on the trumpet. The lyric "doing chores" is very clear specifically. It often sounds like "to enjoy" in the 2008 ver.
+05 The Bidding: WTF THAT TEMPO IS WILD also removed instruments and backup vocals???? The backup vocals for "don't shop around" are also clear. I always thought they said "no trouble" but I guess not. This version goes so hard. I'm just imagining getting handed this at a tiny concert in 2005 and listening to it afterward and how amazing that would have been. After Zubin's part there's a much more distinctive reverb/distortion. Love it.
+06 Be Born: this version is also faster and extremely wide. It's a little busy tbh. The "alright" before the second verse is far less prominent, breaking the general pattern of this album's mixing style. This one is kind of inferior to the 08 version tbh.
+07 Banana Man: one thing I failed to mention is that along with reverb, they may actually use the classic megaphone in many of these vocals. In the 08 version, they do it in post to make the master cleaner, but it's kind of anti-tally to do it in that way imo. Doing Chester Whitmore dirty. There's a cha-cha-cha before the tempo change that I've never heard before. The insane monkey sound part is very distinct as well. I'm just noticing it now but the amps on the electric guitars are much harsher. The break has whispering in it??? What does it say? I also made a mistake and kept my direct monitor on which essentially wrecks a lot of the sound on a harsher mix like this by accidentally adding in more static that sucks out a lot of the sound. Joe's vocal effect is inferior in this version.
+08 Just Apathy: WTF THIS IS A COMPLETELY DIFFERENT TRACK. The instrumental parts themselves are completely different. Very prominent piano sounds and less strings which is amazing. They even swapped a chord in at least one place!! Probably the most different one in the entire album. Faster tempo as well. This track would probably be less hated on if this version was the wider known version.
+09 Spring and a Storm: The thunder and rain sound crusty in a good way. I love the small reverb on Joe's voice! The "uke" is far less harsh, but the muted drums are far more harsh. The background guitar at "would it please you to listen" is something I've heard in live performances but always missed in the 08 version. It's something that happened to Turn The Lights Off as well ("bet you got a bone to pick with me" used to be far more prominent in live recordings and the demo but the studio release relegated it to the background but then muddled Rob's lyrics in that part. Or is it Zubin's? I can't remember). Mr. Moon sounds amazing! You can actually hear Andrew in L! Harmonies are very distinct! This version makes it far easier to make a cover. In live performances they often cut out the guitar bit at the end so I'm glad it stayed here and you could hear it with the storm at the same time!
+10 Two Wuv: Bass is too muddled, bad amp. Drums sound too harsh. The bee sample is sorely missed in the 2008 version and it's very charming, not sure why they cut it. Very interesting that Mary Kate is in R and Zubin in L for the phone call. I kinda wish I could randomly hear the alternate bridges whenever I listen to this song. Background vocals at "without you and you" are great. I don't like fadeout tracks. I feel like it's a missed opportunity for something funny especially for this song.
+11 Haiku: I swear the crowd samples are the exact same. Including Joe's small muttering in the beginning. I love how Joe's voice sounds very distinct and it actually sounds like he stole the mic from Rob. The chorus is much bigger, probably because of Andrew's xylophone being brought to the front more, Joe's backups are more prominent as well. Joe's "HE WROTE A HAIKU FOR YOU" and subsequent ad lib are again much more audible. Andrew's keys at the end of the song I swear don't even exist or are super quiet in 2008.
+12 The Whole World And You: Andrew's vox are so much better in this version. They're raw, and you can hear the proximity effect with his mic. It just sounds good, idk. Tempo might be increased. Background laughing and clapping is more distinct.
+13: vox are hard panned to L. Overall wider mix. I just wish we had a studio guitar only version of this intro. Best we got was the laundromat live version.
+14 Ruler of Everything: background AAH's are less clear because they're overlapped by other instruments. I think you can actually hear Joe not sing the lead vox because he needs to breathe after each "aah". It's super easy to tell between Rob and Zubs. I likey. The second flibbity jibbity's vocal effect is very cool and I kinda miss it. Chimes are either a different instrument (not likely, it's a specific Alesis keyboard) or on a harsher amp. I swear this outro is far longer.
+15 Hidden In The Sand: Ocean sounds are too staticy. Longer intro. Joe's vocal effect is far less effective for what he was going for in this track. Background vox are way too quiet and have no vocal effect. Joe's final oohs are far too quiet. Inferior version. Though I think its intro is longer and the outro with Marvin's farewell message comes earlier which I like, I wish the ocean sounds weren't so long in this track overall and if I had made it I wouldn't have reversed Marvin's words. Would be the sickest outro to the album ever to just hear Marvin himself ask you, "Wouldn't the world be better off if we took nonsense seriously?" and then that's the end of the album.
+
+Very good mix overall. Would change some things but again I wish this mixing style was more prominent in the industry and we didn't just have centralized vox and everything else completely drowned out.

destruction/2023-03-25 boxdScream1996.txt

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+Both victim and killers make arbitrarily stupid decisions just for gratuitous kills and to drag on the plot. Completely destroys all tension or investment in characters surviving or winning. If I know the victims are going to giftwrap themselves to be killed, how am I supposed to care? Beyond that, it's got far too many contrived situations to take it seriously. This movie is full of itself; it's trying to be meta and self-aware about other horror films and cliches but isn't able to deliver on it due to a lack of logical consistency. Matthew Lillard is the only redeeming quality of the film. He's hilarious and takes the facepalming edge out of the more egregious scenes. I suppose it'd be unfair to discredit the actors, but their performances are lost in the bad writing.

destruction/2023-04-15 boxdCrazyStupidLove.txt

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+Reviewed 2023-04-28
+
+Very tonally confused film. Quite enjoyable, but some of the drama went unexplored and the ending resolution would have made more sense if they had spent more time, narrative time or writing time, ironing them out.
+
+I really enjoyed the big confrontation sequence. The setup is pretty great, it's reminiscent of the Lindsay Lohan Parent Trap, one of my favorite films I watched as a kid. Cal goes back to their house to try to remind Emily of their first date; Robbie is helping Cal present her a mini golf set. Hannah is revealed to be their daughter, who has brought Jacob along to introduce him to her parents. Bernie is absolutely livid at Cal, thinking he was having a sexual relationship with Molly, his 17 year old daughter, which was her fault for taking nude pictures of herself and addressing them to Cal, so she's in hot pursuit of her father, much to the confusion and chagrin of her mother. David Lindhagen, the one who has been referenced as the one having an affair with Emily the whole time, then shows up, in the flesh.
+
+The dramatic irony is extremely strong and disjointed.  Jacob doesn't know Cal is Hannah's father. Cal doesn't know Jacob is in love with his daughter and that's why he made the effort to change his ways. Hannah doesn't know Cal and Jacob know each other and that her boyfriend has been helping her father become a womanizer and in that they became close yet grudging friends. Bernie doesn't know Molly took those pictures of herself and addressed them to Cal without his knowledge or consent in a stupid, juvenile attempt to get with him. Cal doesn't know Molly did this and thus doesn't know why Bernie is trying to strangle him. All the others are completely oblivious to this entire subplot. Robbie has a crush on her, but she finds it embarrassing and annoying. IIRC, the only other one who knows of this is Cal, and the only ones who know about Lindhagen are Cal, Emily, and Jacob. Cal hates Lindhagen obviously. So this goes about as well as you'd expect. It's insanely entertaining and cathartic to watch.
+
+I take issue with the ending. Cal's interruption of Robbie's speech is fine, and a lot of what he says, albeit embarrassing and a bit difficult to watch, make sense and set up the ending fairly well. But it happened too fast. I don't think Cal would have given Hannah and Jacob his blessing so quickly. I don't think Emily would have forgiven Cal for his actions so quickly. Obviously the teacher isn't happy but I don't think she walks that back which is good. There's just overall a lot of forgiving and forgetting that happened too quickly in an out of character manner.
+
+The 17 year old girl giving the 13 year old her nudes to "get him through school" is fucking weird. Besides being disgusting, it's illegal; she's a minor who created pornographic images of herself and gave them to another minor. Creation of child pornography and distribution of child pornography to a child. These are serious charges that aren't without consequences. The film is blissfully unaware of how messed up this is because it got caught up in the payoffs it wanted. It just reads as a classic Hollywood thinking sexualizing children or exposing them to adult content is ok. Was this scene not controversial when it came out? He's going to have some really twisted and unrealistic expectations of what he deserves from her in a couple years. If she continues to interact with him after turning 18 and she doesn't shut down any sexual advances made from him, this could really be considered grooming. Not only that, but her actions seem to indicate a promise that the two of them will be together several years down the line. What if she thinks twice? What if it doesn't work out? The only reason she made this hint at a promise was because she thought he'd look more like his father in the future. "I had a crush on your dad, here are the nudes I took for him, hopefully once you're of age we can have a sexual and romantic relationship." Reverse genders and I feel like they wouldn't have done it. Hello writers? Are you awake? This should have been immediately nixed on the second draft. If it was an on-set decision it should have been edited out or the director, script supervisor, SOMEONE should have shot it down.
+
+Besides those hiccups I reckon it's pretty solid. Not sure how to rank it in light of these flaws.

destruction/2023-04-29_1 StarWars.txt

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+Watched the despecialized edition (v2.5) it was quite nice. I grew up on the Special Editions from 1997, and I really do prefer it without the edits Lucas imposed on them later. There's a certain charm about the film being the way it was intended to be originally, without the muddled misdirection of 20 years later. Many of those changes were unnecessary. Lucas chose several elements to "fix" that really didn't need fixing. And then denied fans the ability to see the unadulterated film as it was originally seen. Thus I massively appreciate the despecialized edition's efforts to preserve history. One thing I was confused about this time around: Leia knows they're being tracked; it's the only reason they got away. Yet they still go to Yavin on the off chance they can analyze the plans and find an exploitable weakness in the Death Star. So they knew they were being tracked, they knew their data may not be exploitable before the Empire uses their station to destroy them at their next location, so they risk the entire rebel base at Yavin regardless? Perhaps I missed something that made it clearer as to why they did so. I thought they should have landed elsewhere, swapped ships (assuming there was a tracker left upon the Falcon) and then headed to Yavin. I'm just not as aware of what their options were as I could be. Regardless, the world is very rich. Within just a few minutes we're given enough information to know where we are, what the stakes are, who the players are, what they want, etc. It really works. It works without unnecessary edits and to a certain degree, without sequels. Though I'm glad they left enough plot threads open so we could follow the journeys of the characters afterward. I'm glad this film made money, otherwise we may never have gotten what came afterward, good and bad. We deserved to see where the characters went and these films delivered. Not perfect, but pretty stellar.

destruction/2023-04-29_3 Der Fuehrer's Face.txt

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+Fascinating. Very much a product of its time, but to a certain degree stands the test of time. Making fun of Nazis shouldn't be controversial. I think many people in our modern time missed the point of this. It's a pretty obvious middle finger to/parody of Hitler and his regime, it's just different to how we tend to do it today. It's pretty funny, too. Has a decent message, albeit extremely hyperbolic. I wonder if kids at the time grew up with this as their only frame of reference for what WWII in Germany was like.

destruction/2023-05-28 boxdEdgeOfTomorrow.txt

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+Everything up until Cage's first death was pretty hard for me to follow. I didn't understand why pretty much anyone was trying to do, but I analyzed it again. One thing I'm quite sure of is that General Brigham is unreasonably evil in his treatment of Cage. He was forced to die for the military, completely against his will, his freedoms usurped.  Forcing him into their ranks was cruel and unusual punishment; they sent a non-combat ready PUBLIC AFFAIRS officer to be traumatized and die in a modern D-Day against ALIENS because he wasn't qualified for the job and therefore refused. His refusal was ignored by Brigham, so in desperation he threatened to blame him for when the attack went wrong. This desperation and the action borne of it is very much in character; he's never been in combat, doesn't know the first thing about it. So obviously he doesn't feel qualified and would feel quite terrified to be given control over all the UDF's forces for the upcoming invasion of France, for which he'd only have a couple hours to prepare. But he does know public affairs, so he plays to his strengths, because he knows how easy it would be to threaten Brigham's position. This obviously backfired; he was "arrested," more like abducted, and sent to UDF's Heathrow Airport military base. Which is pretty evil. He could have just taken it up with Cage's superiors and had him court martialed. You're telling me a man in Brigham's position couldn't do something to punish him or ruin his career without killing him behind the back of his military allies? The American military would surely be livid to hear that Brigham CIA'd one of their own public affairs officers to die in a battle he wasn't qualified to lead *because* he refused to lead it *because* he knew he wasn't qualified. I don't even believe Brigham when he says he already had approval from Cage's superiors to give him those orders. Especially considering his actions directly afterward indicate that he knows how to bend the rules and is willing to lie to military collaborators to manipulate them to do what he wants.
+
+Now, Sergeant Farell didn't know exactly what he was doing, as Brigham had demoted Cage to Private, falsely labeled him as a deserter, and alleged that his officer's uniform was the result of him stealing one in order to desert. But Farell isn't entirely innocent, far from it. He makes the executive decision to put what he understands to be a private with absolutely no combat skills whatsoever, into a Squad that will be on the front lines of their attack the next morning. The only training he gets is "some Basic," and all we see of this in the film is him with the rest of J-Squad doing a lap within Heathrow, and push-ups if Cage, or presumably any of the others, misbehave. They refuse to help him know even the basic functions of his suit, which besides being evil and cruel, actively puts the rest of them in danger. They put him in a suit that he didn't even know how to operate. Why would you ever give a soldier a gun when they don't even know how to turn off the safety? Not only are they attempting to kill a man whose only crime was insubordination/blackmail (which is a stretch), they also are putting the rest of their company in danger by forcing him into their ranks. He could sabotage the mission in a million ways when he doesn't know how to operate this dangerous weaponry. J-Squad should be absolutely pissed at Farell; what kind of a Sergeant would put such a woefully unprepared man into this position? The base is on lockdown and you believe he's a deserter claiming to be an officer; it makes sense he would refuse to give him a phone call. But you're going to deploy the next day and you see that he hasn't a single clue what he's doing. You're putting your entire Squad and potentially the mission itself in jeopardy. Is this what we do with deserters? Give them highly powered modern weapons in the form of mech suits that they don't even know how to operate? Put them into the front lines the next day? So they can face the threat of death they hoped to avoid by deserting and do something rash with the equipment they don't understand? It's evident Brigham wanted him killed for his reasonable actions, he's evil, I get that. But sending him into combat doesn't guarantee that he gets killed without bringing harm to your own soldiers. They're not immune to bullets; he could go rogue and attempt to kill as many of their own men as he could out of spite for him being there. He doesn't know how to operate it, there are a million things he could do that could accidentally kill their Squadmates or worse. Why Farell follows those orders given the situation is beyond me. You could argue he dismisses Cage's grievances as deceit, but wouldn't his Squadmates be concerned at his qualification? Wouldn't they bring it up to Farell? That they feel endangered by his presence in their Squad? Why would they mock him right before landing? Yes, he's a dead man, but you could be as well due to his predicament. This is a narrative problem; the writers entirely missed the fact that a single unprepared or unqualified soldier doesn't mean one dead man, it could potentially mean his entire squad. I could provide endless examples, but to keep it broad and simple, what if they're trying to kill an alien, Alpha or otherwise, and his incompetence causes their position to be revealed? The entire inciting incident is predicated on cruelty, pride, and an astounding lack of understanding of the consequences of unqualified individuals being placed into combat roles.
+
+If I recall correctly, we don't see their basic training jog in the first day. I have a contention with this. In a Groundhog Day-style film like this, it's very important that we see the initial permutation of the day in as much of its entirety as possible, otherwise we may get confused, thinking that a sequence is the result of the protagonist's actions rather than something that would have happened independent of him. However, I appreciate their ability to utilize the strengths of this format. One big advantage is that once we've seen enough of the looping, we can assume that new skills or knowledge the protagonist suddenly has were acquired in previous unseen loops. This is one of the few situations where the skipping of exposition is almost better than keeping it in. How does he know how their ships work and how to pilot them? Well he's been loading the same save state for years, potentially, having done nearly everything he could possibly have done in that single day looped over and over again. It's great to see this format used in a combat scenario with very high stakes, because many films of this style confine the actions of the protagonist to conversations and social interactions only, hardly ever involving death. In this film, the loop is maintained by death, and the lives of millions in this war on the aliens are our stakes, which is pretty fresh for this format. I really want to see Vatraski's loop at Verdun made into a film and I'd love to see an extended cut.

destruction/2023-06-02_1 Three Caballeros.txt

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+Definitely an improvement on many animation bits. Many of them were quite hilarious. Me and at least one of my friends couldn't help but to genuinely lose it at several bits, especially the penguin in the beginning. Of course I still have the same criticism that I have with many of Disney's first works; they act more as animation showcases and setpieces than they do as telling coherent, well-written stories. They do a fantastic job at being animation showcases; they're beautiful. The setpieces are wonderful, but it's quite dated. Back then, being animated and beautifully so, was enough. Now, we've been, or at least I've been from a young age, accustomed to seeing the art form used as a medium for a narrative. So it feels unsatisfying to see such high budget, creative problem-solving, and new technologies be "wasted" on something that lacks substance. One of my friends who I watched this with described this and others like it as "animation tests," which obviously isn't accurate overall, but it's a decent descriptor of what they feel like. The result of having no overarching narrative, rather having a collection of short stories, doesn't make it feel like a movie. Which isn't very objective but it's an interesting insight to how our perspectives have changed.
+
+Speaking of changed perspectives, it's interesting to see yet another Disney+ disclaimer on this. My friends and I agreed that there was a big dumbing-down of cultural elements, but that the intention of this was to foster a positive, more understanding relationship between Americans and everyone south of North America. And in that respect, I find it overall to be both successful and respectful. I don't see where they get the idea that there are harmful racial depictions; sure, the live-action men in the Baia sequence were all wearing the exact same outfit and could absolutely be argued to be stereotypical, but it wasn't a stereotype integrated with the intent to put a culture down; rather they clearly wanted to introduce their culture to Americans and accept them with open arms. The characters of Jose Carioca and Panchito Pistoles were created with the purpose of giving Brazilian and Mexican cultures a representation equivalent to Donald Duck; their appearances in Saludos Amigos and this film are obviously intended to show an American cultural icon metaphorically representing Americans, becoming friends with similar metaphorical proxies of their own respective countries. "You like Donald? Well watch him meet and become close friends with Jose as Jose spends time with him and shares his culture. Watch the two of them then meet Panchito, who does the same with his." Perhaps this could have been better if it wasn't as meta; rather than a presentation, they could have made them a narrative. But if they did, perhaps it wouldn't be as educational? Regardless, the cultural disrespect of these films is either entirely percieved, or quite possibly accidental.
+
+Some may criticize Panchito's appearance, gunslinging, vocalizations, behavior, etc, as stereotypical. Perhaps this is true. Perhaps this is true of all three of the Caballeros, at least to a certain degree. But I think back then, the stereotypes existed not to make fun of them, but to give them a proxy by which to represent them. Whether or not this is just, is up to debate. Me personally, I love the American stereotype of a swearin' sailor-mouthed gunslingin' flag-totin' bible-lovin' American. I can like the one-sided portrayal because I know it's not accurate to me and I would like to think people in other countries understand that too. This character isn't me and he doesn't represent me; he represents a simplification of the culture that surrounds me. Perhaps some of this stereotype is true to me, some of it's hyperbolic, and some of it's not at all what I'm like. But I don't mind it one bit, neither do I mind other, more offensive stereotypes like that of the obese, rich, selfish American. I only get frustrated when someone tells me that's exactly what I am as an individual as a way to demean me, especially if it hasn't a semblance of truth to it. Unless it's in good fun; I was raised LDS in Utah and many of my out-of-state friends make Mormon Polygamist jokes in reference to this. I find it funny. Being able to laugh at/with ourselves and each other with the mutual understanding that it doesn't define us as individuals is one of the beauties of living in a melting pot, no matter where said pot resides. It's something I think today's culture is sorely lacking. Another example of this positive effect, the Ultimis Crew from Treyarch's COD Zombies are all extremely stereotypical, and I love them all. Though I understand it's not representative of all individuals in their respective cultures, it endears the cultures to me as a whole. It neither makes me hate them nor fills me with false ideas of how every individual in those group behave. Anyway, to my understanding, Mexicans are, on average, positive on characters in this vein. For whatever reason Speedy Gonzales comes to mind. To my understanding, most cultures are fine with hyperbolic stereotypes, so long as they aren't used against them with the intention of dismissing them as all bad people and destroying their individuality. Sometimes it seems the people frustrated with these characters are conflating the racist stereotypes that target people, with the stereotypes that poke fun at certain aspects of them. Poking fun and genuine racism are obviously two very different things. I love Tank Dempsey; I do not love getting told I'm responsible for school shootings just for living in a country that has a problem with preventing them. I'd imagine Mexicans love characters like Speedy Gonzales; they do not love being told they're responsible for all sex trafficking on the Mexican-American border. I wish this did not have to be explained. Stereotypes can be weaponized to be disrespectful and then some. They can be utilized for the opposite effect. Let's not throw out the baby with the bathwater; there are many benefits to be had from taking stereotypes less seriously. Both in the respect that we shouldn't arbitrarily percieve inoffensive ones as offensive, and that we should stop using them to denegrate cultures, ethnicities, and nationalities we do not understand.
+
+The one inaccuracy that my friends and I agreed may be harmful is their historical erasure of Tenochtitlan; if children watched this, they may have been falsely told that Mexico City and Mexicans as a whole existed independently of the Aztecs, which is far from true. This misconception and simplification of history was not created by this film, rather this film's participation in it is symptomatic of the issue itself. There were many events that caused historical aftershocks in our culture to where we forget where much of Mexican land, culture, and even genetic heritage comes from. Mexico City was not founded by Spaniard Conquistadors. Mexicans are not 100% descended from Spaniards. Mexico as a whole, similarly to many continents changed by colonization, is downstream of the clashing of two or more groups of people; the native and the foreign. Spaniards brought their technology, ingenuity, morals, Christianity, and more, and distributed it into native culture. Their people and culture mixed. The moral implications of this, the actions of individuals or of the groups as a whole, have been and will continue to be debated for millenia. Regardless, it's important not to forget when making what is intended to be a respectful exploration and explanation of other cultures to American children or adults alike. Your history must be accurate and must not haphazardly blot out these aspects. But I realize that this is an extremely difficult thing to do. How do we ensure that there is no misunderstanding about what happened in history without going into immense detail that won't be understood by the children in the audience? How do we accurately tell the events as they happened without historical inaccuracies, without offending, but without going into all the nuance of a textbook or documentary? It's a problem that if I were tasked with doing on this project, I wouldn't know where to begin and would likely require consulting from historical experts and test audiences alike. Do the historians find my portrayal to be accurate? Did the Mexican audience like how I portrayed their culture? The Brazilians? What do each of these groups have to say about it? Should I edit the film further before release to cater to their respective critiques? It's easy to criticize with 79 years of hindsight. With the information at hand and the intentions they had in mind, I'd say this film did a pretty good job at what it was intending to do. 
+
+However, if I were tasked with making it, I would have opted for a narrative story. Saludos Amigos, which would likely be renamed, would have been a film that perhaps pits Donald a sticky situation being stranded in Brazil, meeting Jose, who helps him, and they become fast friends as Donald inadvertently is exposed to a significant amount of his culture. Perhaps they'd promise to meet again in America, so Jose could explore American culture in the same way. Thus, The Three Caballeros, as its sequel, could have Jose visit Donald in America, the two of them being on vacation in Texas perhaps, eventually something leading them to cross the border and meet Panchito, so they can explore his culture as well. I'm just throwing out ideas, but perhaps if these were narrative stories rather than presentations, they could have resonated more with audiences from all three cultures and have become just as culturally significant as the likes of Snow White, Pinnochio, Dumbo, Bambi, etc. Perhaps the cultural ramifications of these films would have been more effective towards the results they were going for and these films would be far more timeless. Perhaps they wouldn't be maligned as culturally insensitive and thus a part of a forgotten bygone era that many today wholly dismiss for this percieved injustice. Onee big advantage of making it a narrative would be that they don't have to go into detail about the history; they don't have to be educational and accurate simultaneously. They can be accurate and respectful, but don't have to explain complicated history to children or ignorant adults. They could show the journey of specific characters and have the emotional understanding of those cultures be downstream of our connection to them. If you tell a story with the intent of metaphorically having Americans, Brazilians, and Mexicans bond with an understanding of their respective cultures, so long as that story is well-crafted, your respect for those cultures will shine through your work. Those that appreciate your work, at both a young and old age, will likely have individual consicous or subconscious changes to reflect the change you wanted to incite in them. Doing it as a silly yet enchanting presentation, while it has its benefits at being able to be more detailed, may not be as effective and presents challenges as I've discussed that will age your work drastically.
+
+One final thing worth mentioning: it's fascinating to see the characterization of Donald in both this and Saludos Amigos. In a more modernized characterization, he just seems to be extremely quick to anger, and he gets humiliated often, though not in the same sense as many characters are humiliated in... more contepmorary writing rooms. These two films seem to make him, for lack of a better term, horny. I don't object to simply having an animated character react to attractive women, animated or otherwise, but some of his behavior in these films are questionable to say the least. Back then it was culturally acceptable to... treat women that way. But it comes off as... strange, to say the least? He's extremely down bad in a way that hasn't seemed to age well. It's entertaining, but in a meta sense I'm laughing more because I'm somewhat appalled that this was okay to animate 79 years ago. Though I've definitely seen far worse examples of issues in this vein outside this film specifically.
+
+Overall, while this work has aged poorly in many ways, at its heart, it's most certainly not with the intention of being disrespectful. Indeed, it's quite the opposite. Disney ought not to malign this work by poisoning the well against it with the exact same disclaimer they trot out for everything. It seems more like they're ticking a box as to not offend people, rather than actually judging this work on its own at face value.

destruction/2023-06-02_2 Make Mine Music.txt

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+I could have sworn this was on Disney+ before. As I have hinted at previously, I have a principled position against Disney picking and choosing which parts of their history they are going to make available, acknowledge, or claim to hold themselves accountable for. But I don't get why this one seems to have been forgotten in comparison to some of their other anthology films from that era. There's nothing, as far as I noticed, that would even require their cultural insensitivty disclaimer. So it's odd that it's yet another bit of forbidden Disney fruit. One of my friends suspected its lack of inclusion was due to the implied nudity at the beginning. I disagreed; I seem to remember worse things being present in previous or later Disney films that *have* been brought back. So I'm not sure, beats me.
+
+There are many animation bits, as I've discussed in my reviews of similar films from this era, that make me and my friends laugh. Some of these are because they were intended to be funny. Some of them are because the film has aged, and our sense of humor has evolved to find some things funnier than they were intended to be given contexts we have that they did not. For example, in the segment where these characters dance to upbeat Jazz music, a woman is drawn with a large butt. She gets mad at the pencil/animator for doing this, so the pencil obliges her by erasing the extra mass from her body. We didn't find this amusing in the same way I'd imagine the culture of its period did, because our generation is very appreciative of larger women, while theirs found those body types unattractive and possibly shameful. We found it funny because we riffed on it in protest of the joke, while their generation found it funny because back then, it was more common for women to want to be thinner and to have smaller butts. Another animation bit that may not have even been a joke, we found very funny. A boy spins a girl into a shapeless blur that he twirls around his entire body like a lasso. We thoguht this was ridiculous to the point of hilarity. I'm not sure this was supposed to make audiences laugh as hard as we did but I'm not sure why. It's just kind of interesting.
+
+The baseball section made a lot of sense, for the most part. If I'm not mistaken, the characters get very angry at the umpire's decisions and they shout *twice* that either the umpire or certain players should be killed, and they use the word "kill", verbatim. I speculated this may possibly be another reason why Disney opted not to stream it on their platform. This sequence is pretty enjoyable. We likened the large, cocky character's design similarity to later characters Gaston and King Louie; Gaston due to the large chin and cocky nature, Louie due to the extremely top heavy stature, large arms, and orange sideburns. We were all quite confused by the transition that happens right as the final pitch is made. We found it jarring and funny, and this was likely unintentional. We joked that he hit the ball so hard, he caused reality to malfunction. "He didn't break the sound barrier, he broke the *space* barrier." The calm intercut is beautifully painted and animated, but very bizarrely placed. Why did they need a 30 second unrelated intercut to explain that he struck out? It distracts and takes away from the reveal. I appreciate their storytelling; I could absolutely believe that he was going to hit it out of the park, but it was also just as plausible to think he'd miss, losing his team the game. It just would have made far more sense to fade to the rain rather than the park. I wonder why they made this decision. Perhaps it was because they didn't want the audience feeling bad for him. Because I'd imagine that seeing him sadly standing in the rain immediately after would endear him significantly to the audience and thus take away from the humor of him frustratedly trying to hit the ball as he dropped it. There's a lack of catharsis there. It would be a much more emotionally satisfying story if it was done differently, though perhaps that's not as objective as I'd like it to be. Hear me out. What if we saw this cocky player go from thinking so highly of himself, being surrounded by the adoration of women and fans of his team alike, thinking he's entitled to a certain kind of pitch, thinking he's so good, then losing his team the game. Standing sadly in the rain, alone, after the entire disappointed audience, team, coaches, and enemy team alike left him there with his guilt and shame. He could take this guilt and frustration he exibits right at the end to fuel him to actually be as good as he thought he was, to make it up to his team and fans for letting them all down. He could train and try again and again, failing many times along the way, but learning lessons. Perhaps he's booted from the team or they don't accept him for his mistake. Perhaps he has to prove himself to them. Perhaps he struggles immensely to achieve this. But perhaps he finally succeeds, winning them the game, but with a realization that even though he's succeeded in being as good as he thought he was, that now he has been humbled by his struggle and his mistake. So he goes forward with the knowledge that he isn't entitled to the admiration of his peers, but in doing so is far more deserving of the respect he once had. Perhaps he ensures it doesn't go to his head again and becomes a real baseball legend rather than a charlatan with an ego unbecoming of his skill. Would that be a better story? It could very well be, if executed well. But it likely wouldn't have fit in the confines of this format. I just enjoy presenting rewrites and exploring the possibilities on how a story could be improved.
+
+We found the Peter and the Wolf section to be confusing; them seemingly killing a couple characters and then bringing them back was confusing but I didn't think of it much deeper than that. The hat love story was weird and I expected the ending to be more along the lines of Disney's short film Paperman (2012), but it was coherent enough. The opera whale section was utterly bizarre from beginning to end. The transition from Willy's final performance to instantly being harpooned at sea was jarring. Cool transition, but it takes a second to realize that there's a time skip. It is also not explained how a single harpooning lead to his death, though one of my friends argued that, in real life, the blood in the water can cause sharks to have a feeding frenzy on whales. While I can imagine why they wouldn't put that in this movie, that doesn't help the issue of us missing the information to help us understand why he died. "He got harpooned, but he's still fine. See? He tore away from the boat, he's getting away. Never mind, he died." I think the writers were unaware of that not being a death sentence. Like if in Finding Nemo, the fishers cast their nets, but the nets break and all we see is their perspective of the nets disapperaing, we're going to assume Nemo got away. If we then cut immediately to Dory, Marlin, and other characters mourning his loss, we'd be confused and potentially insulted. Anyway, we found him singing in heaven to be quite jarring as well. Putting a sign that said "Sold Out" on the gates of heaven as the final thing we see in the entire film was something we found to be ironically funny in a way I'm sure they didn't intend it to be back then.
+
+Overall, it's along the lines of Fantasia, definitely funnier, less budget, but subjectively I found it to be more engaging. But perhaps that's more because of the slow pacing of that film and overall due to my frustrations with its format and manner of storytelling. But that's a review for another day. I plan to go back and leave some thoughts on previous films, some of them in the Disney animation chronology and some not. I want to say a couple words on almost every film I see just for fun. Thanks to @drvey117 for logging his films consistently so I at least have the dates of when we watched them.

destruction/2023-06-03 master and commander.txt

@@ -0,0 +1,9 @@
+Keep in mind I was extremely tired and distracted when I "watched" this movie. I didn't pick up everything, so my views on this film as of yet will struggle to be objective. I may get details terribly incorrect, perhaps to a hilarious degree. So this review comes prescribed with a huge grain of salt.
+
+There was definitely a lot that I missed, but from what I could actively discern, this was pretty fantastic. A gripping character drama at sea with well-founded, in-character, and rational decision making. One thing I didn't get is why the Captain put the youngest, the children, aboard the ship in charge of their respective companies. Doesn't seem like the most rational decision to make when it was done for the purpose of capturing a French ship much more well-gunned and manned as their own. But they win the battle anyway. There's quite possibly something I missed to indicate that these young boys could have been taught how to be proficient in decision-making and leadership in these combat scenarios, because they absolutely seem proficient beyond their years. Actually they behave like fully grown and experienced men in the face of bloodshed and explosions. For which I'll be hunting for significant justification upon a potential rewatch. 
+
+I absolutely loved that battle scene, however. The French put up quite the fight; they feint their enemies the moment they attempt to board, pretending to all be dead, use some great tactics overall to try to win. They come off as quite competent but are absolutely slaughtered. I wonder if there was some detail or subtext I missed that implied that their warning was a bluff and that they were depleted of men, resources, or both somehow and were simply attempting to avoid battle. I think my tiredness just made it very difficult to capture all the film was putting in front of me. But I couldn't help but to be very excited by the entire sequence. My favorite part was the part where one of the boys releases the British prisoners and they instantly, without hesitation, take up arms and rush into the thick of battle to assist their brethren. They were surely POWs from other ships or captures during the war, naval or otherwise, but they knew immediately to support their brothers in arms and had no second thoughts about doing so. In fact they were quite eager. Seeing people united is a big weak spot of mine; it almost always illicits an emotional reaction in me. I appreciate the back and forth in this section. There's a definite sense that they couldn't have done it without the planning and decision making of the captain being as good as it was. He's a brilliant tactician and a great captain, despite all the struggles they had at sea up to that point. He knew how to unite the men emotionally, to have their respect, and he knew how to help them do their jobs as effectively as possible to achieve their goal of capturing the French's ship.
+
+Paul Bettany's character is absolutely my favorite. I love his expertise, his emotion, his principled positions, his relationship with both the captain and especially Midshipman William Blakeney. I was quite invested in the two of them and his ability to survive so he could continue to mentor William. I wish there was more I could have gotten out of it; I was tired and distracted so I missed out on quite a lot. I must rewatch this at some point.
+
+I would describe this to the average person as, "You know Pirates of the Carribean? It's like that, but realistic. And better." At least the first Pirates was internally consistent despite its magic. I'll always appreciate the franchise for its swashbuckling adventures, but they're pretty ridiculous beyond the first. This is for if you love seafaring adventures,19th century worldbuiling, in a realistic setting with pretty stellar writing. At least so far as I can tell given my mental state in consuming it.

destruction/2023-06-17 the truman show 1998.txt

@@ -0,0 +1,9 @@
+Yeahh, I think this movie might actually be perfect.
+
+I was shown this for the first time a couple of years ago, and I don't think it resonated with me properly. I missed what was going on or something. I didn't realize the incredible depth there is to every character, the world, all events as they play out. I'm not sure why I didn't think too much of it until this rewatch. But it's very emotionally resonant now in a way that I didn't see before, and I think a big part of that is because of the excellent worldbuilding and character detail. I love to see Truman being himself, his mind being blown by the revelations he gets, and how he forces Meryl to break character and to subsequently leave the show. The interactions play out exactly like what a real fake scenario would be like. The characters act like real people would act, if they were forced to pretend like they were in this film.
+
+In a deleted scene where the "new main cast" have a meeting, it's revealed that Christof plans to keep Truman in his fake world until he dies, to be replaced by his son-to-be. It's truly dystopian. Marlon is the one who asks this question as a direct confrontation to Christof, who ignores the question and ends the meeting. You can tell by his face, and it bleeds into a lot of the subtext of Marlon's scenes, that Marlon genuinely cares about Truman. He knew him his entire life, and despite him always knowing in the back of his mind that he wouldn't be there spending time with him if not for the show, he's concerned about what's going to happen to him. It's like he thinks Truman deserves to know one day, and that day is coming soon. I wish there was more of this arc explored, but objectively the story functions without it.
+
+Christof's character is intentionally implied to be synonymous to Truman's true father. In the interview, they drop exposition revealing he was legally adopted by the corporation. The way he watches him sleep, lightly caressing the screen. The way he confronts the woman who truly loved him, how he tells her she doesn't know what's best for him. The way he's pained to see him go and tries his utmost to keep him from walking out of that door and out of the lives of him and all the others who watch his show. Christof truly thinks what he's doing is not only okay, but he cares for Truman in his own twisted way. Perhaps when he started out, it was all for money and for doing something unprecedented. But in the end, he became a sort of starving artist, all he cared about was keeping Truman in his world, and for keeping the world happy. I love the way that when it counted, we saw him feeding his lines directly to the actors, but at that final moment, he finally spoke to him himself for the first time in his life.
+
+I could talk about this movie endlessly, there's so much depth to every second. But I won't do it today.

destruction/2023-06-23 song of south.txt

@@ -0,0 +1,21 @@
+It's not racist. But it's very out of touch.
+
+All the characters treat each other in respect to how they behave. The only exception is really the Favers brothers, who pick on Johnny and Ginny just for the sake of it. But everyone treats each other in reaction to their actions, not their race. In fact, race is largely ignored in this story. For a story that's meant to foster reconciliation between black and white people, this is a good idea. For a story that's set in the American slave south *during slavery*, this is a VERY bad idea. It damages the worldbuilding significantly to have slaves be friends with their masters. To a child, or perhaps simply to someone entirely ignorant to the history, it may come off as simply the people in the same community getting along despite their differences in class. But when you're aware that these people are slaves and slavers, it undermines a significant amount of their positive interactions. Why would Toby want to be friends with Johnny, when Toby has to wake up earlier, get dressed, get to work doing chores that Johnny can do, all while Johnny is still in bed in his PJs? There would be a natural discontempt and jealousy with the pampered state of the child. But they act like this massive difference doesn't exist. Similarly, Johnny enjoys Uncle Remus's stories and considers him his friend. He'd rather be in Remus's shack than the large, well-furnished home he's staying in. Which would be an interesting detail, but the story treats their difference in living conditions as if it doesn't exist. The characters would surely react to these differences, there could be some sort of drama about it. But this movie is set on the story it's trying to tell. Rather than taking the natural discontempt these groups would have with each other for their differences and taking that as a challenge, the writers decided to act as though those differences meant nothing. As a movie in a historical situation, this is ignorant of the historical context it's portraying. I do not blame people for describing it as romanticized or idealistic. It's an erasure of the struggles that these people went through as slaves. If they wanted to have this dynamic between the characters they ought to have set it in a different period.
+
+But there are no racist portrayals of black people. In fact, there are no racist characters in-world either.
+
+As mentioned earlier, the Favers brothers, as bullies, seem to have a natural bigotry against anything and anyone they can pick on. But they don't mistreat any black people for being black. In fact I think they only interact briefly with Toby a few times when him and Johnny stop one of their dogs from escaping through the fence, and with Uncle Remus when they're trying to get Johnny's dog back. They don't direct anything negative toward them; they only pick on Johnny and Ginny. Because they're bullies. I would think the intrinsic bigotry of bullies would realistically extend to black people as well but as I say, I think the writers explicitly didn't want a single mention of race in this film.
+
+I've heard some say that Sally is racist due to the scenes where she asks Uncle Remus to stop telling his stories or interacting with Johnny. I think her motivation is pretty clear; she thinks the stories could cause him to behave outside of how she's been trying to teach him. I don't think she has reason to believe this, so it's a bit of a plothole I suppose. But her issue is with the stories, not with who's telling them. It's about a lack of trust in the material. I'd probably fix this by getting Grandmother to convince Sally to have Remus tell the stories with Sally present, to make sure she's there for parental guidance. And then she can realize they're not a problem. Actually my proposed fix would be quite focused on adapting the story to focus on Johnny and perhaps his family trying to fit into this world he doesn't understand, and trying to become friends with Toby despite their differences. That, if executed properly, could be a much more effective story about reconciliation between the races; treating people as equals.
+
+It's bad for the story for many reasons to treat all characters as equal when they are objectively not in equal standing; some of these characters are enslaved to the others, creating a significant thematic dissonance. But it's very important to remember that this film came out over a decade *before* the civil rights movement. And yet it's quite respectful to black people. In many racist cartoons and other media from this period, you'll see exaggerated, ugly appearances of black people. They're portrayed as uneducated, stupid, sluggish, selfish, and generally no good. In contrast, Remus is a kind, insightful old man, with wonderful stories that provide enriching ideas to children. His vocabulary is fairly advanced and his wordplay is quite clever. He speaks in an accent that is indicative of where he came from, but he still comes off as exaggeratedly uneducated, far from it. All the other black characters, unless I missed something, are similarly portrayed in an inoffensive, respectful manner.
+
+The Uncle Remus stories themselves are just Disney's imagining of the original stories. Their voiced by black people, in fact the actor for Remus himself voices Br'er Fox. Make no mistake: these stories are historically significant Black Culture. To erase them is an injustice and incredibly disrespectful. The closing of Splash Mountain in Magic Kingdom and Disneyland is a disgrace. Those rides were a physical portrayal of Black Folklore as imagined by Disney. This portrayal was, at every level that I have researched, 100% respectful. It's completely removed from the film itself and its issues in being unsympathetic or ignoring the struggles of the slaves it portrays. It's a stylistic portrayal of Uncle Remus's stories in and of themselves. It is not and will never be racist; those stories were created by black people. I'm sick of people being so race-obsessed that they assume that anything that involves black people in any way is racist. Watch the animated scenes of this movie in isolation from the live action segments. They have absolutely zero negative portrayals. These haphazard assumptions cause people to take actions to erase black culture and I can't stand it. These stories are wholesome, and Disney's portrayal of them are enriching to all types of people. Only the live action segments of this film ignore historical context. But even that may not create harmful ideas in the heads of children who may consume it. It just may have to be recontextualized once they're old enough to understand the history.
+
+The story of Tar-Baby is falsely maligned as racist. The story in and of itself was *created* by black people. The term Tar-Baby and the black appearance of the object in the story was later *weaponized* by racists. You can find minstrel-like advertisements of hand soap on google images under the brand name Tar Baby. It's been used as an epithet and it can certainly be a slur. But the story in and of itself wasn't intended for this. The tar baby was a decoy; it could have been made of anything other than tar. It's just an unfortunate coincidence that they could so easily weaponize the appearance of the object itself and the description of the object being ripe for use as a slur; it just sounds derogatory and makes that transition easily. The wikipedia entry on this is quite informative.
+
+Overall, the story is significantly damaged by the dissonance I've detailed. But it's still mostly internally consistent. The characters are pretty great, and their journeys follow a logical progression besides the issues I've outlined. It's just a troublesome watch due to what it forgets, ignores, and erases. It's a better story that's more culturally significant than many of the disney entries thus far. But its issues are more sensitive to people, which has caused Disney to effectively deny its existence. Which is a shame. Don't pretend like it didn't happen. Make it available so we can see what happened, so we can learn from the bad parts and benefit from the good. I personally believe kids can watch this without much guidance. Just make sure they don't toss around the phrase tar-baby and maybe explain the history better. Maybe this should be considered teen-rated. Whatever the case, I think it should be up to the parents and thus it should be available for everyone who wants to see it.
+
+===
+
+If I had to write a disclaimer, I wouldn't put the "racist depiction" schitck that they have for most things. Although I suppose Aunt Tempy could be considered along the lines of the Mammy stereotype so perhaps it's worth mentioning. The main issue with this movie is its ignorance of the struggles of black slaves in the time period is set in. It's unreasonably idealistic and unsympathetic, and that's what the disclaimer should say.

destruction/2023-06-23_002 2023-12-11 song of south.txt

@@ -0,0 +1,21 @@
+It's not racist. But it's very out of touch.
+
+All the characters treat each other in respect to how they behave. The only exception is really the Favers brothers, who pick on Johnny and Ginny just for the sake of it. But everyone treats each other in reaction to their actions, not their race. In fact, race is largely ignored in this story. For a story that's meant to foster reconciliation between black and white people, this is a good idea. For a story that's set in the American slave south *during slavery*, this is a VERY bad idea. It damages the worldbuilding significantly to have slaves be friends with their masters. To a child, or perhaps simply to someone entirely ignorant to the history, it may come off as simply the people in the same community getting along despite their differences in class. But when you're aware that these people are slaves and slavers, it undermines a significant amount of their positive interactions. Why would Toby want to be friends with Johnny, when Toby has to wake up earlier, get dressed, get to work doing chores that Johnny can do, all while Johnny is still in bed in his PJs? There would be a natural discontempt and jealousy with the pampered state of the child. But they act like this massive difference doesn't exist. Similarly, Johnny enjoys Uncle Remus's stories and considers him his friend. He'd rather be in Remus's shack than the large, well-furnished home he's staying in. Which would be an interesting detail, but the story treats their difference in living conditions as if it doesn't exist. The characters would surely react to these differences, there could be some sort of drama about it. But this movie is set on the story it's trying to tell. Rather than taking the natural discontempt these groups would have with each other for their differences and taking that as a challenge, the writers decided to act as though those differences meant nothing. As a movie in a historical situation, this is ignorant of the historical context it's portraying. I do not blame people for describing it as romanticized or idealistic. It's an erasure of the struggles that these people went through as slaves. If they wanted to have this dynamic between the characters they ought to have set it in a different period.
+
+But there are no racist portrayals of black people. In fact, there are no racist characters in-world either.
+
+As mentioned earlier, the Favers brothers, as bullies, seem to have a natural bigotry against anything and anyone they can pick on. But they don't mistreat any black people for being black. In fact I think they only interact briefly with Toby a few times when him and Johnny stop one of their dogs from escaping through the fence, and with Uncle Remus when they're trying to get Johnny's dog back. They don't direct anything negative toward them; they only pick on Johnny and Ginny. Because they're bullies. I would think the intrinsic bigotry of bullies would realistically extend to black people as well but as I say, I think the writers explicitly didn't want a single mention of race in this film.
+
+I've heard some say that Sally is racist due to the scenes where she asks Uncle Remus to stop telling his stories or interacting with Johnny. I think her motivation is pretty clear; she thinks the stories could cause him to behave outside of how she's been trying to teach him. I don't think she has reason to believe this, so it's a bit of a plothole I suppose. But her issue is with the stories, not with who's telling them. It's about a lack of trust in the material. I'd probably fix this by getting Grandmother to convince Sally to have Remus tell the stories with Sally present, to make sure she's there for parental guidance. And then she can realize they're not a problem. Actually my proposed fix would be quite focused on adapting the story to focus on Johnny and perhaps his family trying to fit into this world he doesn't understand, and trying to become friends with Toby despite their differences. That, if executed properly, could be a much more effective story about reconciliation between the races; treating people as equals.
+
+It's bad for the story for many reasons to treat all characters as equal when they are objectively not in equal standing; some of these characters are enslaved to the others, creating a significant thematic dissonance. But it's very important to remember that this film came out over a decade *before* the civil rights movement. And yet it's quite respectful to black people. In many racist cartoons and other media from this period, you'll see exaggerated, ugly appearances of black people. They're portrayed as uneducated, stupid, sluggish, selfish, and generally no good. In contrast, Remus is a kind, insightful old man, with wonderful stories that provide enriching ideas to children. His vocabulary is fairly advanced and his wordplay is quite clever. He speaks in an accent that is indicative of where he came from, but he doesn't come off as exaggeratedly uneducated, far from it. All the other black characters, unless I missed something, are similarly portrayed in an inoffensive, respectful manner.
+
+The Uncle Remus stories themselves are just Disney's imagining of the original stories. Their voiced by black people, in fact the actor for Remus himself voices Br'er Fox. Make no mistake: these stories are historically significant Black Culture. To erase them is an injustice and incredibly disrespectful. The closing of Splash Mountain in Magic Kingdom and Disneyland is a disgrace. Those rides were a physical portrayal of Black Folklore as imagined by Disney. This portrayal was, at every level that I have researched, 100% respectful. It's completely removed from the film itself and its issues in being unsympathetic or ignoring the struggles of the slaves it portrays. It's a stylistic portrayal of Uncle Remus's stories in and of themselves. It is not and will never be racist; those stories were created by black people. I'm sick of people being so race-obsessed that they assume that anything that involves black people in any way is racist. Watch the animated scenes of this movie in isolation from the live action segments. They have absolutely zero negative portrayals. These haphazard assumptions cause people to take actions to erase black culture and I can't stand it. These stories are wholesome, and Disney's portrayal of them are enriching to all types of people. Only the live action segments of this film ignore historical context. But even that may not create harmful ideas in the heads of children who may consume it. It just may have to be recontextualized once they're old enough to understand the history.
+
+The story of Tar-Baby is falsely maligned as racist. The story in and of itself was *created* by black people. The term Tar-Baby and the black appearance of the object in the story was later *weaponized* by racists. You can find minstrel-like advertisements of hand soap on google images under the brand name Tar Baby. It's been used as an epithet and it can certainly be a slur. But the story in and of itself wasn't intended for this. The tar baby was a decoy; it could have been made of anything other than tar. It's just an unfortunate coincidence that they could so easily weaponize the appearance of the object itself and the description of the object being ripe for use as a slur; it just sounds derogatory and makes that transition easily. The wikipedia entry on this is quite informative.
+
+Overall, the story is significantly damaged by the dissonance I've detailed. But it's still mostly internally consistent. The characters are pretty great, and their journeys follow a logical progression besides the issues I've outlined. It's just a troublesome watch due to what it forgets, ignores, and erases. It's a better story that's more culturally significant than many of the disney entries thus far. But its issues are more sensitive to people, which has caused Disney to effectively deny its existence. Which is a shame. Don't pretend like it didn't happen. Make it available so we can see what happened, so we can learn from the bad parts and benefit from the good. I personally believe kids can watch this without much guidance. Just make sure they don't toss around the phrase tar-baby and maybe explain the history better. Maybe this should be considered teen-rated. Whatever the case, I think it should be up to the parents and thus it should be available for everyone who wants to see it.
+
+===
+
+If I had to write a disclaimer, I wouldn't put the "racist depiction" schitck that they have for most things. Although I suppose Aunt Tempy could be considered along the lines of the Mammy stereotype so perhaps it's worth mentioning. The main issue with this movie is its ignorance of the struggles of black slaves in the time period is set in. It's unreasonably idealistic and unsympathetic, and that's what the disclaimer should say.

destruction/2023-08-17 joehawley.txt

@@ -0,0 +1,35 @@
+The more I look into Joe's situation, the more I'm convinced that he suffers from significant mental illness, if not namely paranoid schizophrenia.
+
+I understand that the document(s) and audio recording has been taken down out of hopes that Joe can get help. I would still implore others to come to their own conclusions in reviewing the facts. If I make any statements in error, please correct me in the replies. Bottom line is that interacting with Joe in any way is not a good idea and to harass him benefits nobody.
+
+To start, the document frames many of his communications and actions as manipulation. I do not personally think, due to what I'm about to say, that Joe is capable of playing mind games in this way. This does not mean that his communications were neither hurtful nor dangerous; quite the opposite. I think his lack of awareness makes him more dangerous. But I personally think the writers of the document, his victims, colored their recollections of the events with some of their feelings of hurt and distrust. I don't know Joe and likely never will. But I want to extend him the benefit of the doubt as I would with anybody; I find it unlikely that he is aware of his actions. Though Eden admits, in their recollection of at least one of these incidents, that it simply "*felt* like a manipulation tactic, whether intentional or not." My intention here is to provide somewhat of a rationalization for why I think the hurt he caused, up to and including the verbal abuse and unwanted sexual advances towards his victims, were not intentional.
+
+Make no mistake that none of this excuses his actions. I'm sure we can all agree on that. But if we want to understand why it happened, we have to accurately examine his behavior and base our judgements off of that.
+
+His behavior is not that of a sane person, let alone a sane person who is also bigoted, a predator, and emotionally abusive with full awareness and attempts to justify his wrongdoing. His behavior is that of someone who cannot properly percieve, and thus does not understand, reality.
+
+I've seen several recordings of him in his post-2011 years that struck me as odd. I've remarked on them on the subreddit in the past, but to list a few:
+
+- In a 2018 instagram livestream, Joe makes several odd remarks. Actually the entire recording is utterly bizzare. Here are some highlights that I think speak to his mental state one way or another.
+
+    He states that he thinks [bacon should be illegal](https://youtu.be/kkBSAWxcvIA?t=124), following that statement with a seemingly unrelated explanation about styrofoam in cigarette filters being the real cause of cancer, and that tobacco could possibly be *good* for your lungs. 
+    
+    He segways (pun intended) into saying that marijuana was probably too complicated to be smoked thousands of years ago due to its similarity to the human genome. I have no idea what he means by this.
+
+    He says medical marijuana is "probably great in raw form" but that the zombie apocalypse is a difficult situation. Mid sentence he implies that the 72 viewers of his instagram livestream were responsible for this apocalypse. He makes several grandiose statements about the number of current viewers throughout the stream. The way he speaks of them is as though they've entered into some sort of magic ritual that will change the world.
+
+    He states that "drugs and music are sort of interchangeable relative to zeitgeists" in response to someone wondering how the topic switched from music to drugs.
+
+    Someone asks him to rap the ruler of everything rap, which he remarks seemingly to himself as "kind of a... scary idea..." And then says the first couple lines out loud slowly in a funny voice before moving on to other comments.
+
+    He states that there are lots of parasites living inside us that doctors won't tell you about.
+
+But seeing more of his conversations and hearing at least one phone call... He's very clearly unwell and has been for a while. So many of his sentences and responses are nonsensical in or out of context. I'm no expert on schizophrenia specifically, as many have speculated, but I wonder if these patterns of communication are common with such troubled individuals. He non-sequitrs constantly, like with his descriptions of his past trauma. He sees situations happening around him now as a paranoid extension of past traumas. 
+
+For instance, he implicates an unnamed individual as having "something to do" with him getting hit by a car. Not much is known about this alleged incident, but I'm assuming based on the context that this unnamed individual was another fan, who was friends with Nymn and Eden, which makes it highly unlikely they had anything to do with such an accident. Plus, his wording is strange. If he was hit with a car, surely he'd know who hit him? The accusation that the redacted individual had "something to do" with it reads to me as him linking his past traumas to unrelated individuals and lashing out because he has no ability to percieve the lack of correlation between past events in his life that were painful to him, and current people and events that are most likely benign and completely unrelated.
+
+Again, I'm no expert on paranoid schizophrenia, but it reminds me of one Gary Stollman. For those unaware, Gary Stollman was a paranoid schizophrenic whose condition got so bad that he held a KNBC anchor at gunpoint [on air](https://www.youtube.com/watch?v=tL9jGWqvkIE) to read a small statement of his. I researched this topic because I thought what he had to say was really interesting, given he mentioned the CIA, and the video that had mentioned it dismissed it as insane nonsense. Upon further research, I came to the same conclusion, but the video didn't do a good job of explaining the fascinating story behind *why*. His father had been on KNBC for many years and Gary had seen his act as the only way to get his statement read and seen by the world. His statement alleged that he was being stalked by the CIA in an elaborate sting operation involving aliens. He wrote a [45-page document](https://www.scribd.com/document/52361592/gary#) several years later detailing his experiences and why he believed what he alleged and committed this crime on air. He describes getting a phone call from his father, where his father described ludicrous scenarios to him. He would ask his father about them later, and his father was unable to recall these situations. He got a call from his mom, who he insists "was not my REAL mom!" due to the "tonal qualities" of her voice over the phone. And all of a sudden he didn't recognize his own mother, thinking she was some sort of replacement sent by a team of CIA and Alien collaborators. He described his interactions with the operator, swearing up and down that a female phone operator would call *him* consistently asking *him* questioning him about people he didn't even know. The biggest moment that solidified my understanding of his condition was when he described him thinking that because of a single thing that a college counselor mentioned offhand, that almost every single other student had dropped out of all classes, and some of his awkward interactions with his classmates going forward, meant that the CIA had replaced every single one of his classmates with agents to spy on him. "It was as if they were playing parts out of a movie, the way they were carrying on during class. Something just wasn't right. It seemed like they had been assigned various "roles", and their actions in the class made me believe that they had been put there for some specific purpose." It seems to me that Gary's transition into was was likely paranoid schizophrenia was gradual enough that he thought he was the only sane one when really, he needed serious help. When your perception of reality suddenly slips and it seems like nothing makes sense, it's heartbreaking to see that he became extremely distrustful of everyone and assumed the only thing going on was that something as ludicrous as aliens colluding with the CIA to specifically target HIM of all people. He frames his brief tenure in a mental asylum as a targeted attack by the CIA to keep him quiet. He couldn't see the people trying to help him, his parents, family, the professionals, were trying to help him. He genuinely thought due to his condition that he was surrounded by replacement people in a top-secret government-funded effort to experiment on him and keep their alien fratenization hidden from the public. From what I can find, he may never have gotten the help that he needed, especially considering his 45-page recollection was penned several years later. His faith in his delusions, as far as I'm aware, never faltered, so he never got better. It's heartbreaking and it's a shame.
+
+I bring up this example because it may shed some light on Joe's mental state. All people are different, but perhaps their disconnection from reality has some key similarities. Joe, like Gary, appears not to interact with reality, but with a false perception of it caused by paranoid delusions. Again, his responses are often full of non-sequitrs. He frames situations in this grandiose way that implies he assumes collusion between unrelated people. He reacts with anger, profanity, and rudeness at the most benign things, like being asked to clarify some of his cryptic, one-word messages to help his corresponder understand where they were meeting. He refers to Nymn's call as "committing physical violence" against him. He viewed an informational instagram post about SA as a personal threat "in context," as he says, about a relationship that had ended, to my understanding, over 15 years ago. It seems highly unlikely that he's aware, almost of anything happening around him. It's all augmented by delusion. So perhaps when he interacts with people in this way, to him, he's defending himself to what truly are unfounded attacks, perhaps even that of a physical nature, against his reputation and his person. But we can't put on his glasses and see the world as he sees it. Without that perspective, we may never understand why he behaves this way. I saw a fan on [twitter](https://twitter.com/idcabout_names/status/1691637491307077651?s=20) say that his "mental derangement" has drasticaly hindered his "true self" and that he one day may see the line of right and wrong *as he once did*, as long as he can get help. This struck a chord with me. I don't think Joe can be expected, in his current state, to differentiate the line between right and wrong, when he can't differentiate his current interactions with fans from his relationships that have ended in the past. If he thinks getting a calm phone call kindly asking him what happened last night and what he meant in his rage, equates to *physical violence*, if he thinks an instagram post about SA is a personal threat due to allegations that were made against him in the past... If he thinks all those things, how can we expect him to even begin to understand trans issues? The connotation that slurs have for society at large? How can we expect him to be a decent person when he lives in the augmented reality he seems to live in?
+
+None of this justifies his actions. From all I've seen, he appears to be undeniably dangerous. His sexual behavior towards minors, and, moreover, his lack of awareness of any wrongdoing, is nothing short of mortifying.

destruction/2023-08-17 joehawley_002.txt

@@ -0,0 +1,65 @@
+The more I look into Joe's situation, the more I'm convinced that he suffers from significant mental illness, if not namely paranoid schizophrenia.
+
+I understand that the document(s) and audio recording has been taken down out of hopes that Joe can get help. I would still implore others to come to their own conclusions in reviewing the facts. If I make any statements in error, please correct me in the replies. Bottom line is that interacting with Joe in any way is not a good idea and to harass him benefits nobody.
+
+To start, the document frames many of his communications and actions as manipulation. I do not personally think, due to what I'm about to say, that Joe is capable of playing mind games in this way. This does not mean that his communications were neither hurtful nor dangerous; quite the opposite. I think his lack of awareness makes him more dangerous. But I personally think the writers of the document, his victims, colored their recollections of the events with some of their feelings of hurt and distrust. I don't know Joe and likely never will. But I want to extend him the benefit of the doubt as I would with anybody; I find it unlikely that he is aware of his actions. Though Eden admits, in their recollection of at least one of these incidents, that it simply "*felt* like a manipulation tactic, whether intentional or not." My intention here is to provide somewhat of a rationalization for why I think the hurt he caused, up to and including the verbal abuse and unwanted sexual advances towards his victims, were not intentional.
+
+Make no mistake that none of this excuses his actions. I'm sure we can all agree on that. But if we want to understand why it happened, we have to accurately examine his behavior and base our judgements off of that.
+
+His behavior is not that of a sane person, let alone a sane person who is also bigoted, a predator, and emotionally abusive with full awareness and attempts to justify his wrongdoing. His behavior is that of someone who cannot properly percieve, and thus does not understand, reality.
+
+I've seen several recordings of him in his post-2011 years that struck me as odd. I've remarked on them on the subreddit in the past, but to list a few:
+
+- In a 2018 instagram livestream, Joe makes several odd remarks. Actually the entire recording is utterly bizzare. I think just about everything he says speak to his mental state in one way or another, but here are some highlights to consider.
+
+    He states that he thinks [bacon should be illegal](https://youtu.be/kkBSAWxcvIA?t=124), following that statement with a seemingly unrelated explanation about styrofoam in cigarette filters being the real cause of cancer, and that tobacco could possibly be *good* for your lungs. 
+    
+    He segways (pun intended) into saying that marijuana was probably too complicated to be smoked thousands of years ago due to its similarity to the human genome. I have no idea what he means by this.
+
+    He says medical marijuana is "probably great in raw form" but that the zombie apocalypse is a difficult situation. Mid sentence he implies that the 72 viewers of his instagram livestream were responsible for this apocalypse. He makes several grandiose statements about the number of current viewers throughout the stream. The way he speaks of them is as though they've entered into some sort of magic ritual that will change the world.
+
+    He states that "drugs and music are sort of interchangeable relative to zeitgeists" in response to someone wondering how the topic switched from music to drugs.
+
+    Someone asks him to rap the ruler of everything rap, which he remarks seemingly to himself as "kind of a... scary idea..." And then says the first couple lines out loud slowly in a funny voice before moving on to other comments.
+
+    He remarks that one of the chatter's names matches the name of a teacher from his middle school.
+
+    He reads the time off his watch then shows his watch, notably set to the inside of his wrist, remarking specifically the watch's model, insignia, and where he got it.
+
+    He quips that the "worst curse word on instagram" is probably "buses".
+
+    In response to a chatter saying "scars are weird," he states that there are lots of parasites living inside us that doctors won't tell you about.
+
+    He discusses his song space station level seven, but his final remark seems very odd especially after having just recited some of his own japanese lyrics. "that's cliche at this point as we both know, jane"
+
+    "it's an elevator song, bora insisted it was a ladder" the elevator seems to be referring to the elevator song from a video game he was citing as an inspiration for the song, while the mention of bora i would guess is a strange recollection of what was likely a discussion they had when they were working on the project.
+
+    when asked what else he does for work he again remarks on the number of watchers and replies that "every moment is work"
+
+    some people asked his thoughts on the lgbt community, which he didn't see. but someone said "lgbtizzies" and he read that and remarked something to do with that topic. he cuts out but appears to say "i always- sexual- but I'm gay" without more context not much can be assumed but it didn't seem antagonistic in the very least. some may interpret that as him saying he's a part of the community. some chatters appear to reiterate the idea that he did refer to himself as gay, but many didn't seem to hear it properly either.
+
+    "hally tall is trying to tell me what to do" "please say the f word"
+
+    "why do people keep requesting to be on the video and then decline it. own up to your own request!"
+
+    when someone gets featured he becomes grandiose
+
+    in response to her saying "incredible" he says "lacking credibility"
+
+    "i'll say the fuck word for you joe" "awesome well fuck! you said it!"
+
+    "peer pressure, i'll tell you how i die" i drown at the age of 102, but it's a secret so if anyone tells they'll die too (very grandiose and bizzare) "when you know how you die, you know"
+
+
+Worth mentioning is that his state in this video seems relatively calm when compared to his other actions, where he got very angry and rude over seemingly nothing. He only mentions a couple times that people were "telling him what to do" but doesn't seem angry at all. I'd imagine later versions of him would be angrier at some of the chatters.
+
+
+But seeing more of his conversations and hearing at least one phone call... He's very clearly unwell and has been for a while. So many of his sentences and responses are nonsensical in or out of context. I'm no expert on schizophrenia specifically, as many have speculated, but I wonder if these patterns of communication are common with such troubled individuals. He non-sequitrs constantly, like with his descriptions of his past trauma. He sees situations happening around him now as a paranoid extension of past traumas. 
+
+For instance, he implicates an unnamed individual as having "something to do" with him getting hit by a car. Not much is known about this alleged incident, but I'm assuming based on the context that this unnamed individual was another fan, who was friends with Nymn and Eden, which makes it highly unlikely they had anything to do with such an accident. Plus, his wording is strange. If he was hit with a car, surely he'd know who hit him? The accusation that the redacted individual had "something to do" with it reads to me as him linking his past traumas to unrelated individuals and lashing out because he has no ability to percieve the lack of correlation between past events in his life that were painful to him, and current people and events that are most likely benign and completely unrelated.
+
+Again, I'm no expert on paranoid schizophrenia, but it reminds me of one Gary Stollman. For those unaware, Gary Stollman was a paranoid schizophrenic whose condition got so bad that he held a KNBC anchor at gunpoint [on air](https://www.youtube.com/watch?v=tL9jGWqvkIE) to read a small statement of his. I researched this topic because I thought what he had to say was really interesting, given he mentioned the CIA, and the video that had mentioned it dismissed it as insane nonsense. Upon further research, I came to the same conclusion, but the video didn't do a good job of explaining the fascinating story behind *why*. His father had been on KNBC for many years and Gary had seen his act as the only way to get his statement read and seen by the world. His statement alleged that he was being stalked by the CIA in an elaborate sting operation involving aliens. He wrote a [45-page document](https://www.scribd.com/document/52361592/gary#) several years later detailing his experiences and why he believed what he alleged and committed this crime on air. He describes getting a phone call from his father, where his father described ludicrous scenarios to him. He would ask his father about them later, and his father was unable to recall these situations. He got a call from his mom, who he insists "was not my REAL mom!" due to the "tonal qualities" of her voice over the phone. And all of a sudden he didn't recognize his own mother, thinking she was some sort of replacement sent by a team of CIA and Alien collaborators. He described his interactions with the operator, swearing up and down that a female phone operator would call *him* consistently asking *him* questioning him about people he didn't even know. The biggest moment that solidified my understanding of his condition was when he described him thinking that because of a single thing that a college counselor mentioned offhand, that almost every single other student had dropped out of all classes, and some of his awkward interactions with his classmates going forward, meant that the CIA had replaced every single one of his classmates with agents to spy on him. "It was as if they were playing parts out of a movie, the way they were carrying on during class. Something just wasn't right. It seemed like they had been assigned various "roles", and their actions in the class made me believe that they had been put there for some specific purpose." It seems to me that Gary's transition into was was likely paranoid schizophrenia was gradual enough that he thought he was the only sane one when really, he needed serious help. When your perception of reality suddenly slips and it seems like nothing makes sense, it's heartbreaking to see that he became extremely distrustful of everyone and assumed the only thing going on was that something as ludicrous as aliens colluding with the CIA to specifically target HIM of all people. He frames his brief tenure in a mental asylum as a targeted attack by the CIA to keep him quiet. He couldn't see the people trying to help him, his parents, family, the professionals, were trying to help him. He genuinely thought due to his condition that he was surrounded by replacement people in a top-secret government-funded effort to experiment on him and keep their alien fratenization hidden from the public. From what I can find, he may never have gotten the help that he needed, especially considering his 45-page recollection was penned several years later. His faith in his delusions, as far as I'm aware, never faltered, so he never got better. It's heartbreaking and it's a shame.
+
+I bring up this example because it may shed some light on Joe's mental state. All people are different, but perhaps their disconnection from reality has some key similarities. Joe, like Gary, appears not to interact with reality, but with a false perception of it caused by paranoid delusions. Again, his responses are often full of non-sequitrs. He frames situations in this grandiose way that implies he assumes collusion between unrelated people. He reacts with anger, profanity, and rudeness at the most benign things, like being asked to clarify some of his cryptic, one-word messages to help his corresponder understand where they were meeting. He refers to Nymn's call as "committing physical violence" against him. He viewed an informational instagram post about SA as a personal threat "in context," as he says, about a relationship that had ended, to my understanding, over 15 years ago. It seems highly unlikely that he's aware, almost of anything happening around him. It's all augmented by delusion. So perhaps when he interacts with people in this way, to him, he's defending himself to what truly are unfounded attacks, perhaps even that of a physical nature, against his reputation and his person. But we can't put on his glasses and see the world as he sees it. Without that perspective, we may never understand why he behaves this way. I saw a fan on [twitter](https://twitter.com/idcabout_names/status/1691637491307077651?s=20) say that his "mental derangement" has drasticaly hindered his "true self" and that he one day may see the line of right and wrong *as he once did*, as long as he can get help. This struck a chord with me. I don't think Joe can be expected, in his current state, to differentiate the line between right and wrong, when he can't differentiate his current interactions with fans from his relationships that have ended in the past. If he thinks getting a calm phone call kindly asking him what happened last night and what he meant in his rage, equates to *physical violence*, if he thinks an instagram post about SA is a personal threat due to allegations that were made against him in the past... If he thinks all those things, how can we expect him to even begin to understand trans issues? The connotation that slurs have for society at large? How can we expect him to be a decent person when he lives in the augmented reality he seems to live in?
+
+None of this justifies his actions. From all I've seen, he appears to be undeniably dangerous. His sexual behavior towards minors, and, moreover, his lack of awareness of any wrongdoing, is nothing short of mortifying.

destruction/2023-09-14 nintendo direct.txt

@@ -0,0 +1,33 @@
+unabridged nigtendo direct thoughts:
+
+splatoon 3 dlc: don't care happy 4 u tho
+Mario vs Donkey Kong: i find it really funny that the point of the game is for mario to prevent DK from stealing marketable mario toys from a factory. lulmao. kinda looks like a super simple baby game but i've never played the franchise so idk.
+Prince of Persia: i like the artstyle, very different looking from my experinece with this franchise. could be promising. main character name sargon btw i just thought that was interesting
+Horizon Chase 2: generic poopy mario kart knockoff
+Super Crazy Rhythm Castle: generic poopy mario party knockoff
+SPYxANYA Operation Memories: best twitch chat said "a game where you roleplay as a child... seems to be for a CERTAIN demographic" :pepelaugh:
+Super Mario RPG: artstyle looks goofy af in nintendo's newer graphics. i feel like the lighting and modeling just looks a bit out of place among other nintendo games as of late? but a fair amount of the cinematics were reminiscent of the rendering style and quality of ssbu/world of light, which i thought was cool. doesn't mean your stupid wood doll is getting in the game you freaks. but hey as remakes go this is a bit of a fan favorite so actually good on ya big N.
+Another Code Recollection: WHY TF DOES SHE MOAN EVERY MOMENT SHE'S ON SCREEN who tf approved that?? really awful english voice acting in general. looks like a fat L of a game that nobody cares about. leaks overhyped it with "it was *a* DS game guys" yeah that could have been anything but we got this? also it looks like this spoils the climax of the game and presents us with like all the story elements immediately. if you wanna give us a trailer to a game that we didn't really know about at least present it in an interesting way. it actually looks like it has potential because it doesn't look as generic as a lot of the crap they spew out but they presented it terribly. L nendo.
+Princess Peach Showtime: looks quirky but uninteresting. I'm sure others will have fun with it tho. villain looks like a kirby boss.
+SaGa Emerald Beyond: generic poopy persona knockoff. it's such a bingo board/drinking game thing for nintendo; you can just see them in the board room like "how do we present this in a way that western retards will think we're *not* corporate to the point of retardation? i seriously can't imagine a single person who would buy something like this, especially when presented this way. "play as x character who has x backstory, and y character with y backstory, turn based combat, epxansive world in a way we never seen in this before!" stfu nobody cares
+Tomb Raider Remastered Collection: I agree with Arex's assessment that this seems reminiscent of the GTA """remaster"""... the visuals are hardly "upgraded," it really just looks like an upscale, and ngl the slight improvements in textures and models look super out of place in some places. like... idk. maybe if the halo mcc-ish feature of being able to swap between the different styles on the fly is cool...? if this is more overpriced scam garbage I want them to Do Not Pass Go Do Not Collect $200... remasters have their place. but if you sell this collection for anything less than $20... nigga I'm pretty sure the games are all already on PC/steam. I'd rather you just take these same games and do a full spiritual remake of the events in the game, like ff7 intergrade. it would be way cooler if they literally just took assets and engine behavior from Shadow of the Tomb Raider (2018) and just built around that.
+Detective Pikachu Returns: I agree with arex, graphics do look bad. Weird that the cover seems to have a completely different rendering style, but welcome to the switch's bargain barrel hardware. Instantly fixed if they just got ryan reynolds to voice DP. I have vague interest in this series but they could seriously do so much better in so many ways, starting with graphically.
+Trombone Champ: I agree with fruitman's assessment that it's pretty late to bring this to switch, but this was actually presented quite well, for once there was a little bit of self awareness in the announcer guys voice when he said "the controls are... unique" overall nothing to be mad about, it's an indie game that'll do well and people will have fun with it on this platform.
+Battle Crush: again, nintendo is so out of touch to think their main audience needs to be told that the point of a game like this is to "get your enemies health to zero"... nigga just tell us it's league of legends battle royale fall guys and move on you might sell more copies that way
+Wartales: all i needed to hear was "timed console exclusive"... yeah looks crap, this type of game will fare terribly on the switch's hardware. if this is just tryna capitalize on baldur's gate fever i think it's going to do pretty poorly... idk crap about this genre tho.
+Contra Operation Galuga: another cool "reimagining" but man you niggas can't help but to do more to do so much less can't you. i agree with arex, likely to be overpriced.
+Unicorn Overlord: generic poopy octopath knockoff. again, it's just so out of touch. the voice is deep and weird and the things he says are shallow and weird WAIT IS THAT A 10FT TALL MUSCLE MOMMY IN ARMOR WITH EXPOSED THIGHS nvm 10/10 will buy
+Luigi's Mansion 2 HD: "HD" is an overstatement... if it had released on gamecube or especially if it was on wii u I'd just be like :pepeidk: just play that?? but 3ds to switch is an upgrade. i tentatively agree with fruitman's take; everyone thought we wanted more luigi's mansion until we got more luigi's mansion. like everything after the first game was just... ok to my understanding. never played myself ofc. this is a W tho overall.
+Nintendo Museum: seems very out of place but broke up the monotony, seems cool
+Amiibo: don't really care but it's cool they finally got all smash roster
+F-Zero 99: biggest middle finger to f-zero fans of all time. MAKE A MODERN F ZERO GAME WTF ARE YOU DOING?? I'm sure it's fun but this is not even close to what people want out of nintendo's IPs. but actually arex that game was called "Super Mario Bros. 35" that's actually insane that its servers were only online for 6 months.
+Bandle Tale: no alex the ENTIRE thing is a stardew knockoff. don't reward them for this unoriginal crap
+Song of Nunu: looks marginally less boring. the past couple minutes really put the L in league.
+WarioWare Move it: warioware never misses, big W, for Wario.
+Eiyuden Chronicle Hundered Heroes: is this the third octopath-like of the direct? just stop. the idea and style is getting old. once again, the presentation just makes me want to give myself a manual dose of anesthesia. it's described in the most sterilized and boring way they possibly could describe it. out of touch af. "visit your home base, known as the headquarters" :pepega: seriously stfu, no more, mercy, pls
+Eastward Octopia: again the earthboundish artstyle is unique but... nintendo stop ripping off stardew challenge: impossible
+Wargroove 2: again, I'm really getting sick of the sterilized triple A nintendo pixel art RPG/strategy games just stfu go do something you're good at instead of trying to capitalize off the efforts of better-motivated indie devs
+Dave the Diver: at least this is more out of the box with 3d modeling. kinda cool
+Mario Kart 8 DLC: really couldn't care less myself as I don't play the game rn but genuinely good for you guys maybe I'll enjoy this one day
+Among Us update: free map cool, funi animation cool. fruitman read out a nintendo chat member saying "we won" and his response was like "wdym among us fans are constantly eating good" and it's like yeah I'm just suprised that stupid game isn't dead yet
+Paper Mario Thousand Year Door remaster: I strongly agree with fruitman's take that this remaster is highly unnecessary despite how much thousand year door fans have been clamoring for it for years. As he says, that game has aged very very well and looks great emulated. In his playthrough, he was frustrated with the insane amount of backtracking the game required of him on every single level. If you're going to revisit this game to port (ultimately it's more of a port than a remaster let's be honest) it to switch, you ought to be making some mechanical improvements... when fans of this game complain for a remaster it kinda screams to me more so that they're just too lazy to boot up Dolphin on whatever hardware is capable of running the game. It's legit not that hard; I played through all of new soup wii on my old laptop, upscaled to 720, and that laptop was nothing special specwise. It just goes to show just how much money nintendo could make by launching their own multi-emulator platform or just releasing stuff to steam. Because evidently nintendo babies need to be handheld (pun intended) by daddy corpo with an official remaster of every single game they liked from previous gens every single time a new console comes out. Nintendo WANTS you to be dependent on them in that way so they make more profit, so why do you retards beg and encourage them?? You niggas really want to pay minimum of $30 every single past gen game you could just play or emulate legally with your own hardware (or otherwise)? My unwavering corporate advice to nintendo is this: DO NOT be afraid to cannibalize yourself. It may prove to be the best thing profitwise to happen to the company in decades, and will help gamers everywhere be enriched by the experience of your games in the process. My unwavering consumer advice to nintendo babies is this: grow tf up and stop paying and moreover BEGGING Nintendo to PLEASE sell you an overpriced unnecessary remaster of every game you enjoyed because ofc they're going to do it if you're so willing to pay for it that you will BEG to pay for it. Don't let them get away with being lazy corporate slobs who throw an expired, rotting leg of ham out to the wolves to briefly satisfy their hunger. If you give them that road, they'll take it every time. So don't give it to em and practice some freakin standards for your purchasing decisions for cryin out loud.

destruction/2023-10-01 mason fb marketplace.txt

@@ -0,0 +1,19 @@
+https://pcpartpicker.com/user/RaincloudTheDragon/saved/gddLyc
+
+LEMME TELL YOU MAN
+
+So basically, we show up with everything, big monitor included. Hunter grabs me, nat, arex in that order. We roll up and get goin downstairs. Boys are playin smash and enjoyin sodies as I ramble. I realize I need PSU, compaq fan, and 2.5 hdd from me house. Yer parents come in and chat for a bit. Hunter and I leave to my house briefly basically right at 6 when evening conference sesh starts. Meanwhile your parents went on a date or sum and mason shares some popeyes biscuits with nat and arex. I remove the PSU and gather the rest, we return, I suffer for several more hours, the boys leave at around 9 as I continue to troubleshoot. Nat arex hunter take me monitor to nat's car, Hunter goes home, arex goes home, nat comes back but doesn't want to come back inside (which potentially created more problems than if he had just played it cool lulmao). The twins had like come and gone at some point, their friends too, ava's friends, idek who was going in and out the house tbh. But Ava gets home and asks me if the red car sitting outside is Hunter's and if he's chilling inside it and I was like nah it's Nat's but yeah I think he's just sittin in there. The exchange was kinda hilarious because she says sum like "i didn't know who was in there and I was scared" and I reply "yeah Nat's scary" and she says something like "yeah i know" :BAH::BAH::BAH:
+
+why this crap took so long:
+
+So besides the fact I knew pinout for PSU might be a little sus I thought it would be pretty plug and play. I was wrong af. Luckily I had a cheap 400w PSU I was using for tv room pc and I have another DI 750w to replace that so we good. I'll be owed a little money for it but that's fine. I also slapped the 2.5" 160gb ps3 hdd in there because I COULDN'T mount any of my spare hdds in there :ihe: I mounted the HDD with a SINGLE screw. Im boutta order like 500 ssd screws I swear on me mum. I grabbed a compaq fan for exhaust because there was neither exhaust nor intake and it was the least I could do and it was the only fan of that size I knew I had. The disk drive requires the stupid gay faggotron like micro sata power that they use in laptop form factor disk drives like that so we just gave up on that; there are adapters if he really wants to rewrite freaking dvds one day. The *real* problems arose with the mobo. The STRUGGLE was I *just* wanted to pop my SSD in to actually TEST gamign on it before we packed it up assuming it was ready. But for some inexplicable reason it REFUSED to recognize literally anything other than the HDD that came with it as a boot option. I was like ok so this ssd's boot options must just be frerfd so I'll just slap win11 on it right now and be done with it but NO my tiny11 usb didn't work either?? Luckily I had another one and I had laptop just in case. But MAN just trying to figure out if TPM was forcing me to not be able to boot without a specific boot config or something made me go INSANE. I had to remove and then replace the cmos battery, clear the cmos by physically ripping out the funni cmos thing and doin the manual pin short. And that didn't even fix it. The bulk of my time spent on this was JUST IN TRYING TO TEST IT WITH ANOTHER WINDOWS INSTALL. Because the mobo sucks and I want to take it out to the back and Old Yeller it. But anyway we ended up with a very interesting build in the end:
+
+- i3-8100 quad core 3.6ghz 65w tdp, priced at $109 on amzn so that's already a massive W
+- no intake on this case (gay) but side panel makes it ok to have a negative pressure profile since the psu and exhaust fan will pull into it so it's hot but not impossibly hot
+- evga gtx 970 4gb 2-fan: fairly hot, but fairly freaking good. daisy chained 2x 6 pin :boohoonibba: BUT it's got driver support and packs a punch for 50 bucks that's a steal, thx for finding that deal. Only trouble is, its fans were being rarted and I can't explain why. I coulda sworn the temps and fans were fine when i testbenched it at home. But in order to get optimal performance you MUST configure MSI Afterburner to use its own automatically defined fan control. Otherwise it will be at 60 celsius at idle because the fans refuse to kick up properly. I dunno man. shreds like a mf tho. Got 175 fps in risk of rain. Your internet sucks btw, google fiber shafted yall and it's a crime. but all things considered downloading games and drivers and whatnot was the smallest timesink overall.
+- poopy yet adequate default cooler was fine but behaved quite strangely. When the CPU fan was plugged into the CPU fan header, the case fan turned off after POSTing. Even when gaming it wouldn't ramp up. It said N/A in bios. Idk. But when I swapped them, the case fan would go slower than I would have liked, but at least both of them would turn on. Made me wish I had a splitter handy so I could just plug em both into the CPU header no trouble. But it works. If the STUPID MOBO just had an ADEQUATE BIOS with ACTUAL OPTIONS in it then maybe I woulda had NO ISSUES. But it has SMART-controllable fans and there are free programs for configuring those. It's not a requirement but it would be nice. I just wish Afterburner had case fan control in it??? Like why tf not retards?? Why does this always have to be the mobo bios' decision or some proprietary software?? Maybe I just need to find a software I like. Shouldn't be as hard as they make it tho that's for sure.
+- Besides the mobo literally not giving me the option to just TELL THE FANS WHAT TO DO, it also kneecaps the system in OTHER ways :xemmyPissed: they did the retarded proprietary thing where the mobo has the pinout for additional ram slots, but they leave them unsoldered because they know most people won't need to upgrade for that. But that's not even a problem since we got a 8gb ddr4-3200 dimm with this system, right? Well no. I put it in slot A because for some reason it was installed in slot B and that causes problems sometimes. But either way it's shafted because the mobo has NO OPTION for changing RAM speed. It's not even buried man. It just doesn't exist. So ddr4-2600 is the best it can do. I wanted to switch him out with literally anything that wouldn't waste that additional speed but it would have taken too long. Like idk maybe I could say hey I'll trade you for 2x sticks of 8gb ddr4-2133 and then I'll subtract that from what you would owe me for the PSU or just call it even? Whatever the math was on that it woulda taken too long to figure it out. Either way idk if the bios can be flashed but if it can there may be a lot of immediate fixes. I'll say what's good about this mobo: plenty of USBs, front panel usbc, sd card reader, wifi chip and antennas wired right up, pretty efficient spacewise, built in TPM, all features pretty solid. Just the crappiest bios that shafts the hardware because american megatrends is a dick. Literally would have been perfect if they learned to code/think.
+- sandisk extreme 120gb ssd: this thing is listed on amzn as $160 WTF HUH but for some reason I coulda SWORN it was win10, after I tested it on my ssd, it magically became win11. I swear I'm not schizo, the setup screens literally changed even tho it was the same SSD. Couldn't tell you how that happened.
+- 160gb ps3 drive: it can store games i guess lol. woulda given him more but no 3.5" slots
+
+For probably $20-30 over $150? Actually the best value system I've made to date. Couldn't have done it without your dealfinding. I wish I had gotten this value in 2016 or 2020. Cuz it's on par(ish) with pyro v1.0 performance-wise, but like 1/3 the price o that bad boy... Snowflame was like $700 and this thing DESTROYS it for value both then and now.

destruction/2023-12-11 jim carrey grinch 2000_001.txt

@@ -0,0 +1,10 @@
+I saw this film once as a kid, it's older than me so I probably saw it in like 2005 or something, so it was super fuzzy. I remember thinking it was kinda scary but that's all I really remember was the first 20 minutes or something. I saw it for the 2nd time in my life last night, the 10th, and I must say, for a comedy, it's quite heartwarming and clever. It's not perfect, but it's actually quite nuanced.
+
+They offer multiple criticisms for the over-commercialization of Christmas within the first couple shots, and throughout the film. The original story simplifies the message into "all the Whos love Christmas and the Grinch couldn't steal their love for it"
+
+ and instead of "whatever the reason, his heart or his shoes" it actually gives a great exploration for why the grinch was "evil"
+his backstory is a little contradictory to the story and I think it damages the message ever so slightly, but it really is quite great to see that he was rejected and mocked and kinda traumatized due to just being different, so he, kinda like megamind, decided that if everyone was going to see him as evil, he was going to embrace it
+honry generator — Today at 12:31 PM
+but he's miserable because nobody ever treated him well and the only person (his age at least) who liked him was too shy to say it
+the jokes were also really freakin clever
+i was laughing out loud when sara's family wasn't cuz they've seen it a billion times and they were like how have you seen this and i was like idc bruh that's funny

destruction/2023-12-11 jim carrey grinch 2000_002.md

@@ -0,0 +1,23 @@
+I saw this film once as a kid, it's older than me so I probably saw it in like 2005 or something, so it was super fuzzy. I remember thinking it was kinda scary but that's all I really remember was the first 20 minutes or something. I saw it for the 2nd time in my life last night, the 10th, and I must say, for a comedy, it's quite heartwarming and clever. It's not perfect, but it's actually quite nuanced.
+
+They offer multiple criticisms for the over-commercialization of Christmas within the first couple shots, and throughout the film. The original story simplifies the message into "all the Whos love Christmas and the Grinch couldn't steal their love for it" but this film adds nuance to that. Some of the Whos *do* cry boo-hoo, they *do* believe that Christmas is contingent on packages, boxes, and bags. But Cindy-Lou doesn't, and when her dad stood up for her, they managed to convince the rest of whoville of the same, which melted the heart of even the Grinch himself.
+
+I actually really loved the nuance that was shown with the book of Who. When Cindy-Lou nominated the Grinch for Cheermeister, the Mayor, who is a tyrant (albeit a cartoonish one), was scrambling for reasons as to why he couldn't come. Cindy-Lou knew that the law applied to the Grinch as well, but the person in power and the culture at large didn't want to accept that, and thus the Grinch was treated like a second-class citizen since his self-entered exile as a child. This is a fascinating commentary on discrimination, and could certainly be applied to political topics throughout history... And it's a ""children's movie""... I love it.
+
+And instead of "whatever the reason, his heart or his shoes" it actually gives a great exploration for why the grinch was "evil". His backstory is a little contradictory to his character and I think it damages the message and worldbuilding ever so slightly, but it really is quite great to see that he was rejected and mocked and kinda traumatized due to just being different, so he, like Megamind, decided that if everyone was going to see him as evil, he was going to embrace it. It touched my heart when he asked Cindy-Lou why she didn't think he was evil. He lived his entire life used to that treatment, so he had no idea how to interface with someone who actually cared. He had no frame of reference for that whatsoever. I'm reminded of Good Will Hunting, though I haven't seen all of it.
+
+But he's also miserable because nobody ever treated him well and the only person (his age at least) who liked him was too shy to say it. He's self-destructive and self-loathing, and admits it. This is exactly the reason why he also feels satisfaction and superiority to the rest of the Whos. He simultaneously feels as though the Whos can be given "long enough to be jealous of [him]" and also runs from his past by hurting himself. The fact he used himself for his OWN crash test dummy, hurting himself in the process of trying to make his machine safer for no reason, because he doesn't care about his safety, was not only a genius joke, but fits into his character perfectly. The punchline of "that's what these tests are for" was perfect.
+
+Perhaps this is me projecting my own perspective onto the film, but hear me out. The Grinch is a little fruity. Not because he's explicitly bisexual, but because he's an agent of chaos that is too crazy to be afraid of kissing a man for the hell of it. But it plays 
+
+But even as an agent of chaos, he has his limits in that he refuses to harm an innocent, pure child who only ever treated him with kindness. His heart is small, but he's not heartless, and Cindy-Lou used that tiny shred of Whomaity that he still had in him to change him for good, even when he wanted nothing else but to reject this help. Again, I'm projecting my own beliefs, but she is Christlike by nature, schooling the men in power as a child, teaching them what's right, being the only right one when everyone was wrong, the only one who was willing to defend the most sinful man from the world at large. This stupid Jim Carrey kid's movie made me cry. Dr. Seuss may have always liked his stories to be simple for helping children learn what's right, but even with the raucous tone of this film, the beautiful message was preserved. This is where I take issue with many Christians. They throw the baby out with the bathwater when they refuse to acknowledge how much good can be gained from any given film. Because they can't abide the fact that it says "bitchin" a single time, they lose out and completely forget that Cindy-Lou can be interpreted as an allegory for Christ, and this story as a whole can serve as an edifying reminder of the Plan of Salvation. Cindy-Lou Who for President.
+
+Now that I've convinced both Christians and non-Christians that I'm insane, one final note of potential value projection on my behalf. I possibly laughed the hardest at the line that called the taxpayers of Whoville "generous" for paying for a car. It's not generous to give away somebody else's money that you stole. The taxpayers are REQUIRED to pay taxes, which inherently means any good or evil committed with the taxes incurred are inherently not their responsibility. They cannot claim neither the good nor bad that came of their taxes because they don't have a choice in paying them. This is why the film made the joke. Actually, I'm not projecting, the writers share my value and see the same irony that I do in stealing money via the threat of the Executive Branch being touted as charitable. My girlfriend's family was taken aback by my laughter, probably because they've seen it a million times, have it memorized, and are desensitized to the cleverness of the jokes.
+
+
+
+//kinda reminds me of how many times they say bitchin in american graffiti cuz of cultural context
+
+//when the grinch gets complimented by young who (ciny lou? or other?) reference - rudolph "she thinks I'm cuuuude!!"
+
+//i was laughing out loud when sara's family wasn't cuz they've seen it a billion times and they were like how have you seen this and i was like idc bruh that's funny

destruction/2023-12-11 jim carrey grinch 2000_003.md

@@ -0,0 +1,21 @@
+I saw this film once as a kid, it's older than me so I probably saw it in like 2005 or something, so it was super fuzzy. I remember thinking it was kinda scary but that's all I really remember was the first 20 minutes or something. I saw it for the 2nd time in my life last night, the 10th, and I must say, for a comedy, it's quite heartwarming and clever. It's not perfect, but it's actually quite nuanced.
+
+They offer multiple criticisms for the over-commercialization of Christmas within the first couple shots, and throughout the film. The original story simplifies the message into "all the Whos love Christmas and the Grinch couldn't steal their love for it" but this film adds nuance to that. Some of the Whos *do* cry boo-hoo, they *do* believe that Christmas is contingent on packages, boxes, and bags. But Cindy-Lou doesn't, and when her dad stood up for her, they managed to convince the rest of whoville of the same, which melted the heart of even the Grinch himself.
+
+I actually really loved the nuance that was shown with the book of Who. When Cindy-Lou nominated the Grinch for Cheermeister, the Mayor, who is a tyrant (albeit a cartoonish one), was scrambling for reasons as to why he couldn't come. Cindy-Lou knew that the law applied to the Grinch as well, but the person in power and the culture at large didn't want to accept that, and thus the Grinch was treated like a second-class citizen since his self-entered exile as a child. This is a fascinating commentary on discrimination, and could certainly be applied to political topics throughout history... And it's a ""children's movie""... I love it.
+
+And instead of "whatever the reason, his heart or his shoes" it actually gives a great exploration for why the grinch was "evil". His backstory is a little contradictory to his character and I think it damages the message and worldbuilding ever so slightly, but it really is quite great to see that he was rejected and mocked and kinda traumatized due to just being different, so he, like Megamind, decided that if everyone was going to see him as evil, he was going to embrace it. It touched my heart when he asked Cindy-Lou why she didn't think he was evil. He lived his entire life used to that treatment, so he had no idea how to interface with someone who actually cared. He had no frame of reference for that whatsoever. I'm reminded of Good Will Hunting, though I haven't seen all of it.
+
+But he's also miserable because nobody ever treated him well and the only person (his age at least) who liked him was too shy to say it. He's self-destructive and self-loathing, and admits it. This is exactly the reason why he also feels satisfaction and superiority to the rest of the Whos. He simultaneously feels as though the Whos can be given "long enough to be jealous of [him]" and also runs from his past by hurting himself. The fact he used himself for his OWN crash test dummy, hurting himself in the process of trying to make his machine safer for no reason, because he doesn't care about his safety, was not only a genius joke, but fits into his character perfectly. The punchline of "that's what these tests are for" was perfect.
+
+Perhaps this is me projecting my own perspective onto the film, but hear me out. The Grinch is a little fruity. Not because he's explicitly bisexual, but because he's an agent of chaos that is too crazy to be afraid of kissing a man for the hell of it. But it plays 
+
+But even as an agent of chaos, he has his limits in that he refuses to harm an innocent, pure child who only ever treated him with kindness. His heart is small, but he's not heartless, and Cindy-Lou used that tiny shred of Whomaity that he still had in him to change him for good, even when he wanted nothing else but to reject this help. Again, I'm projecting my own beliefs, but she is Christlike by nature, schooling the men in power as a child, teaching them what's right, being the only right one when everyone was wrong, the only one who was willing to defend the most sinful man from the world at large. This stupid Jim Carrey kid's movie made me cry. Dr. Seuss may have always liked his stories to be simple for helping children learn what's right, but even with the raucous tone of this film, the beautiful message was preserved. This is where I take issue with many Christians. They throw the baby out with the bathwater when they refuse to acknowledge how much good can be gained from any given film. Because they can't abide the fact that it says "bitchin" a single time, they lose out and completely forget that Cindy-Lou can be interpreted as an allegory for Christ, and this story as a whole can serve as an edifying reminder of the Plan of Salvation. I can feel the Spirit during this film while other Mormons have skill issue and religious trauma. Cindy-Lou Who for President.
+
+Now that I've convinced both Christians and non-Christians that I'm insane, one final note of potential value projection on my behalf, this time from the Libertarian perspective. I possibly laughed the hardest at the line that called the taxpayers of Whoville "generous" for subsidizing a car as a reward. It's not generous to give away somebody else's money that you stole. The taxpayers are REQUIRED to pay taxes, which inherently means any good or evil committed with the taxes incurred are not their responsibility. They cannot claim neither the good nor bad that came of their taxes because they don't have a choice in paying them. It's not a charity if it knocks on your door, holds you at gunpoint, and robs you. If a charitable organization did that, we'd call them terrorists. When our Government does that, we call them Democrats and Republicans. This irony is why the joke works and why they wrote it. Actually, I'm not projecting, the writers share my value and see the same irony that I do in stealing money via the threat of the Executive Branch being touted as charitable. My girlfriend's family was taken aback by my laughter, probably because they've seen it a million times, have it memorized, and are desensitized to the cleverness of the jokes. So their reaction was "how haven't you seen this before?" and my response was, "I kinda saw it, but that's just hilarious either way." In so many words. I don't want to talk over a movie when that might ruin their experience. Nobody but other film lovers want to watch a movie with someone who majored in Digital Cinema. I know I suck, so I keep Me to Myself. And that's on Masking folks. Wait, wrong Jim Carrey movie.
+
+
+
+//kinda reminds me of how many times they say bitchin in american graffiti cuz of cultural context
+
+//when the grinch gets complimented by young who (ciny lou? or other?) reference - rudolph "she thinks I'm cuuuude!!"

destruction/2023-12-16 Warrior 2011.txt

@@ -0,0 +1,9 @@
+A masterpiece in just about every way. No handholding in the writing; just context clues. It's like watching a documentary, it's truly a Fly on the Wall film. Every shot is crammed, even the few aerial ones, it makes you feel like you're there. It's so immersive and feels so real. THe only thing that breaks this immersion is the unique training montage. I think it serves its purpose, but breaks from the immersive language of the rest of the film in such a way that it would have been better to axe it for a more standard, intercut sequence.
+
+The colors are really something; I haven't seen the special features so forgive me, but I'm assuming it was shot in digital LOG/RAW, colorized EXTREMELY well, and then added a subtle film grain filter on top of the entire film. It works extremely well for every scene, but may come off as a bit cheesy during the Texas and Iraq cutaways. The mock-camcorder footage wasn't very well done and thus broke some immersion as well, but it makes up to little of the film to make much of a dent in the story.
+
+I'm not even gonna talk about the story in much detail. It's complexly heartwarming. Extremely valuable. We need more films like this.
+
+Acting was stellar, the script supervisors knew what they were doing, the specialists who know about the sport, sports broadcasting, the Marines, everything is just spot on, and that realism was communicated to everybody who worked on this film to create something immensely fantastic and again, extremely immersive. Bravo. Take notes, current and future filmmakers. They got it so right.
+
+5/5

destruction/2024-06-05 great mouse detective exploration of Ratigan.txt

@@ -0,0 +1,37 @@
+Pretty solid. I may get a little too esoteric on this one.
+
+One worldbuilding weakness is that it's weird that the mouse world just so happens to mirror perfectly the human world. It's something you have to ignore and play off as a joke in order for the story to function, but it's easier to ignore because the scope of it is quite small. If it didn't exist, there wouldn't be an implication that somehow mouse society and human society are in sync and perfectly mirror each other, which is a supernatural implication. You could remove this joke and most of the plot would function as if it were just a regular Holmes piece. But I'm not sure how the original book series dealt with this confusion.
+
+One worldbuilding *strength* is that it very well understands classical British culture and governance, perhaps better than I understand it.
+
+The man who marries the Queen isn't the King; he's the Royal Consort to the Queen. This means he only has as much power as the Queen delegates to him, and if the Queen were to die, then the power structure reverts back to who is truly in succession to the throne. Oftentimes, the seventh cousin of the Queen has a more legitimate claim to the throne than her husband. Sometimes the monarchy or loyalty of other independent nations has a more legitimate claim. So when Ratigan says that he's in power, he follows it up with the stipulation that that's the case so long as the queen approves. So the situation he engineered to gain political power, so long as his automaton was convincing enough, would have given him legitimate power until he died and presumably planned a contingency. It's a cool detail that I'm not sure writers necessarily will think into for "serious" productions today, let alone for the much-neglected "children's" films.
+
+For this reason it's obvious that anyone would be opposed to his rule given that he is an illegitimate leader within their political system. But clearly his rule in and of itself would be objectionable. We only see that he has a lot of rules, but I believe the only one we see him enumerate is that there should be a heavy tax imposed on those who cannot work; i.e. children, the elderly, and the disabled. He extrapolates, in so many words, that he sees these people as drags on society at large. Now, somebody who cannot survive on their own, categorically, will die if nobody labors to sustain their life. They are incapable of creating tangible, *economic* value. Why then, is it at all sensical for one to impose a tax on a group that cannot create value? Why tax someone who has no money to tax in the first place? These are questions that have been addressed through history, but it seems to be glossed over in this moment given it's an attribute of the Badguy™ to just do evil things. But this feeds into the perception that we have that evil is an attitude, rather than a pathology that makes reasonable, but self-centered presumptions about what is right, and thus leads to terrible consequences. Taxing those who cannot work forces that tax onto the people who care for those dependents; it's expensive enough to take care of dependents, so if you tax additionally for the dependents, it makes taking care of them not financially feasible, so old people die, and having children becomes a luxury for only the very wealthy. But this would come back to bite Ratigan in the tail later, because it would impoverish the working class of his Empire, thus impoverishing him and allowing him to be overtaken and destroyed by the power and interests of neighboring nations. Freedom from tyranny is not only just, it also leads to much economic success. There have been many throughout history and in present day who cannot come to understand this, so I believe that Ratigan can realistically make the same blunder, I just don't think this is a position he would logically take given the circumstances.
+
+The challenge in creating a realistic villain is that, in order to do so, you must first understand that irrationality is a subjective term and an illusion. Every individual has an internal logic to them that makes sense given what they've experienced and learned via their environment. If we judge the actions of others, present or past, as irrational, we make the presumptive mistake of thinking their logic can never make sense to *them*, because *we* can't understand it. Someone can only be irrational, if they have the exact same understanding of the situation as those judging them. Nobody who knows they are behaving irrationally continues to behave that way unapologetically. Nobody is capable of truly comprehending that they themselves are irrational, and also decide to continue their irrational behavior. Some people may double down on said behavior, but there's an internal logic to that too. The job of the writer is to ensure that enough of that internal logic is as explicit or implicit in the story, as is required for the motivation of *any* character to logically follow. The definition of evil is not when one violates the rights of others for no reason, because nobody has literally no reason to do so. There's always a reason. The definition of evil is when one violates the rights of others, because they *excuse* it by making rationalizations of certain behaviors and attitudes they fall prey to; they prioritize one principle over all, they prioritize the rights of one over the rights of the other due to that one principle they think trumps that of all others. Indeed; if you think never to violate one principle, and so long as it's not okay to violate this principle at all costs, you can get away with violating every other possible principle, sacrificing them for the sake of what you deem to be more important. There's little evidence to suggest that Evil has ever came into power just for the sake of Evil. Evil is most likely to have always came into power due to the unbalanced priorities of a motivated person or persons, a lack of perspective in these persons, and a lack of opposition, in whatever form, at several points of failure that could have prevented that path from being taken. In other words, everybody who is evil thinks they are good, and nobody who thinks they are good thinks they are evil. Every creature given Reason, i.e. every human being, acts in their own rational self-interest. And thus the logical conclusion is that nobody should ever consider themselves good, lest they accidentally become evil. Everyone must hold themselves accountable for the mistakes they make, as to not rationalize and attempt to justify them. This isn't to say that there is no objective truth or morality; there certainly is. The issue is that, as we are not omnipotent, and thus imperfect beings, the objective truth isn't readily discernable. This is what distinguishes good and evil morally; one of them recognizes its inherent flaws, and attempts to account for them, while the other refuses to account for its own flaws, and instead justifies them to themselves and anyone who will listen.
+
+So how does this apply to Ratigan in this context? Well, his motivation in the story is implicit: power is both an end in and of itself, and he utilizes the power he's already gained as a means to that end. The ambitious seek power, we don't need to be told the exact motivations of it every time. We don't need to know how his father treated him or how he grew up to learn that, that he was always seen as a Rat growing up, that he only ever wanted the adoration of the Mice that surrounded him, so much that he pretended to *be* one while violating the rights of several others just for recognizing that he isn't one. We don't need that, because Machiavellian principles have tempted the motivations of Man since before they had a name. Power is a common motivation, common enough to assume he has his own reason for doing so, so additional detail isn't necessary. But the story itself *presents* very little rationale in that situation for him to enact such an obviously evil policy. At least, it glosses over it. He says, old people, the disabled, and children can't take care of themselves, thus others, by necessity of them suriving, are forced to take care of them, therefore, a tax will be imposed on them so they... are incentivized to stop being old, disabled, or children? How can he expect them to just figure that one out? Hmm... perhaps I could attempt to Steel Man this position via Logical Form.
+
+1. He who is not willing to work, let him not eat; nobody is entitled to the fruits of labor they haven't worked for, or haven't provided fruits of equal value to trade.
+    I assume this aphorism as premise 1 because it's a premise I believe to be true, but if prioritized over all, has lead to evil. It hails back to the New Testament, and may be older still than that. It was a rationale for policies in Jamestown in colonial America, but was used to justify the policies of Lenin, then Stalin. Given Ratigan's brief rationale, I can assume he believes this.
+2. Children, the disabled, and the elderly, are incapable of labor.
+    Self-evident, and Ratigan clearly voices agreement with this premise in the film.
+3. Incapability of providing labor to take care of oneself, requires the labor of another to sustain their life.
+    Assumed from 1 and 2, but neither vocalized by Ratigan nor demonstrated by his in-film behavior.
+4. Thus, our society's labor is absorbed by these dependents. [From 3]
+    Assumed from 1, 2, 3, and 5, but not explicit in film.
+5. Thus, our society's productivity is slowed by these dependents. [From 4]
+    This argument is explicitly expressed by Ratigan.
+6. Thus, these dependents should be heavily taxed, to the end of turning them into a net positive on society. [From 5]
+    Also explicity expressed by Ratigan, though it's a stretch to say he wants them to improve or be better; he likely just doesn't want to worry about them.
+7. However, given they are incapable of labor, there is no value for them to provide in the first place. The only of these three ailments that promise eventual labor, and thus value to society, are children, in that they may become capable adults one day. [From 2]
+    I would speculate that Ratigan probably doesn't believe this. I included this premise to account for the fact that childhood is always temporary, whereas people hardly ever are "cured" of disability and age.
+8. Thus, they must figure it out. If they cannot provide enough value to society to pay the tax, regardless of the willingness of their kin to provide for them, they deserve to starve. [From 1, 3, 4, 6, and 7]
+
+Obviously this justification requires significant mental gymnastics, and its conclusion is evil. If I sat down with Ratigan I'd want to understand what makes him think this way. If Ratigan were real, I would know there is a rational explanation to his behavior, rooted in his pathology. So I'd know the answer is out there somewhere, I just have to think and test scientifically to find it. But it's overly generous to any story to assume that the writers integrated an explanation for this, if it's not in the story. So Ratigan's form of evil goes from nuanced evil, i.e. "I care about the rights of the people, thus it is morally correct to prevent freeloaders from exploiting the working class by taxing them out of existence. It's only coincidental that this tax goes in my pocket and benefits me, it is the right thing to do." to cartoonish, obtuse evil, i.e. "I just don't like disabled elderly children and I'll steal their crutches and suck them dry of their life force to benefit myself, muahahahaha."
+
+Is this standard too much to ask of a children's movie, given how steeped in politics, culture, and Epistemology it is? I don't think so. Just because children haven't yet the capacity to comprehend politics doesn't mean it can't be in the film in any capacity. My counterargument would be Kent Mansley from The Iron Giant. He's the villain, by far the most major antagonist of that film. But he acts in his own rational self-interest. It wouldn't be good news for him to attempt to interrogate, coerce, threaten, and entrap Hogarth, a minor, let alone without his mother present. This is because these actions are wrong, in that they violate his rights. So why does he do it? Because he *thinks* he's fighting for the greater good, he sees Hogarth's rights as a worthy sacrifice for not only his own career, but national security as a whole. He has immense hubris and thinks he's better than this small town. "Big things happen in big places. The sooner I fill out my report, the sooner I can get back to them." He thinks his career in DC and the work that he does is more important than the *entire town,* let alone the least of them, a troubled yet clever child who lost his father to war, now cared for solely by an overworked mother. This causes his knee-jerk reaction to fire the missile at the Giant, even though doing so would sacrifice everyone in the town, including himself. This was caused by a lack of foresight, caused by an overcorrection, caused by a paranoia for political enemies abroad, caused by a war that was resultant from a lack of shared values and common understanding between two or more nations. During the cold war, there were many a paranoid person who would certainly have been willing to sacrifice a small coastal town to ensure a single victory against the Soviets. It makes perfect sense that a Mansley could have existed in such circumstances, and his motivation is internally consistent. I don't have to agree with him in order to understand that *he* believes in his actions. And it's exactly that reason that the audience doesn't resonate with his actions, not only because he has a disdain for and mistreats these small-town residents, not only because he's awful to Hogarth, who, as our emotional vehicle we like, we side with. It's because he's wrong, and wrong people *exist.* His other behaviors, to each individual, could be the most egregious thing he's done. The five-year-old could dislike him because he's rude and controlling to Hogarth, who we love, and he tries to kill the Giant, who we also love. The Mother could dislike him because she's seen men like Mansley, or because she also has children and works tirelessly to benefit them, so when she sees a mother love her son, she sees herself, and when that son is mistreated, she sees that as an attack on herself due to her love for that child, in deed. Fathers could think the same thing, or perhaps, for the more politically inclined men, they could see his prioritization of national security over the rights of the people as indicative of the evil and tyranny of D.C., or that of the CIA or other government agencies. Or you could simply not like his narcissism. Any conclusion drawn from what is literally in the film is valid, the only difference is what the priority is given the subjective perspective of the viewer. Well-crafted stories emulate a version of their own reality that have no errors, and are thus real. Just because one can't see an error doesn't mean it isn't there, and vice versa. Flawless stories tend to reflect reality so well, that they give us a mirror with which to assess ourselves. Sometimes they points out things to us that we didn't realize were a great aspect of ourselves. Sometimes it's the opposite. But it happens to be that, when a story is well crafted, people of all ages can enjoy them, and the truth they glean from it is something of worth to them at that time. You could have a children's story so reflective of reality, that both children and adults can gain a valuable understanding of themselves, regardless of their maturity. If a story, in any of its aspects, is based on contradictory premises, it is the responsibility of the writer to solve those contradictions, lest the story be deprived of its purpose. I'm not arguing that no story without mostly real-world elements can exist, I'm arguing in favor of internal consistency. Without internal consistency, a story, categorically, cannot exist.
+
+Long winded tangent as always. So, to bring it back to this film, can Ratigan feasibly exist without a rational explanation for his motivation? No. Can the world itself exist without a rational explanation for how two different worlds can simultaneously exist in the exact same way, in two different scales across two different species? No. Does that make the story entirely worthless? Absolutely not! There's always something of value in any story. It's just difficult to scientifically measure, so we're forced to make the case for or against any story in seeking higher truth. Just because the worldbuilding is shaky doesn't mean the characters aren't good, but a character's quality is also dependent, to a degree, on that of the rest of the story. The triangle of storytelling is worldbuilding, plot, character. Each affects each other, and all other elements of any story serve to bolster each. They are all essential mechanical elements of the story. Tone and Theme are not the foundation, but the *result* of good storytelling. So if you want Theme, you must build upon the mechanics that allow Theme to exist. If your foundation is faulty or nonexistent, your Tone and Theme will be exceptionally damaged, and the same applies to this film. However, if this film's worldbuilding were stronger, there could be more reasonable assumptions made that make it possible for the same scene to play out the exact same way. This just requires additional elements, more meat, peppered throughout the film to effectively provide that context. There's no one universal solution to this, but some solutions are more effective than others. The job of the writer is to ensure the best overall solution is executed to fit the many needs of the film.
+
+So clearly it's not perfect. But it still has a lot going for it and is well worth the watch.

destruction/2024-06-06 sword in stone.md

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+Still holds the test of time pretty well.
+
+The plot is alright enough, but it seems to end on an unresolved chord. It's very abrupt; Arthur wants to run away from his responsibilities as a young king. Clearly his biggest challenges lie ahead of him. But none of that matters to Merlin, who just tells him, they'll write stories about you, you'll go down in history!! This attitude is destructive. You don't want a young person thinking that their battles have already been won, that they don't have to worry about anything the rest of their lives. In medieval times, the king wasn't *supposed* to be a slob that just sat there grinning that he won the throne (and yes, the throne of any kingdom was contantly contested by those who had any claim, so it had to be won). The reason western society rejected kings is because it was proven, through trial and error, that serfdoms, feudalisms, and monarchies weren't and could never be meritocratic. But at the time, when it was all they knew, the king was the leader of the country, and nobody tended to like him when he was full of himself and thought he could do whatever he wanted. This is exactly why the story of Arthur was so significant to the period; it encapsulated the idea that a King, in order to be a good King, must  first be a good *man*. This is exactly why the sword couldn't be pulled by the vast majority of the men in the kingdom; they were all vying to fill the power vacuum, as men are wont to do, when the person who truly deserved the kingdom was the person who didn't want it in the first place. In truth, nobody truly wanted the kingdom, because being the king comes with responsibilities. The people who wanted the kingdom wanted to abuse the position of power. This is certainly very politically relevant today. But in context of the final scene in the film, Merlin's words of encouragement are useful in that Arthur should feel confident in his responsibility, but what it would result in is a lack of fortitude, conviction, and discipline that leads to complicit behavior that leads to oppression, and beyond.
+
+Merlin's character is interesting. I forgot that he was a time traveller. But I do wonder if he's potentially from further into the future than we would think. This comes out of the poignant question of the difference between technology and magic; that when we don't know how it works, we may think technology is magic. I wonder if he uses technology to do his magic and just guises it as magic in the medieval situation. But I do kind of wonder how his foresight works. He knows someone will be dropping in, but not exactly. I wonder if it's similar to some kind of forecast, or a mathematical algorithm that simulates what will happen, which is why he went to the dark ages. I find it interesting that he calls the 20th century "one modern mess." Sort of makes you think, that he starts out the film with disdain for medieval times, but upon returning to later times, finds that humans still haven't figured out how to create a utopia, and that maybe we've always been the best we can be at any given time...
+
+I like Madam Mim's line, where she says that to her, Good is Bad. This is simplified, but it actually highlights the key difference between a good and bad villain/antagonist, as I expounded upon in my last review. She's saying that all that Merlin thinks is good, she has the opposite perspective. It's not saying that she knows she's bad and is proud of it, it's saying she knows Merlin thinks she's bad, but she disagrees and doubles down. Like, "sure, if you want to call me bad, I guess I'll own that". It's self-justifying, self-righteous behavior, and highlighting that weakness in antagonists like her is exactly how to make a good villain.
+
+Not perfect, but pretty charming from Disney as always. If every new Disney film were like this, they'd have a lot more social capital with me. Not great, but stands for something and tells a coherent, albeit flawed story, making up for a plot that expires somewhat towards the end. Perhaps an additional five minutes to tie up loose ends would go a long way.

destruction/2024-06-10 RAB bonus breakdown.txt

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+​ @PandaFighter101  You're mistaken. Make sure you're listening to the original RAB, some people uploaded the Vessel recordings as RAB recordings. All 5 of the repurposed tracks from RAB, for the main 12-track release of Vessel, were completely re-imagined on the new album. Of the 4 bonuses, only Lovely was reimagined in the same way. I think they were intending on putting Lovely as a non-bonus, but for whatever reason, they didn't. I'd highly suggest giving the authentic original RAB a re-listen, it blew my mind the first time. Here's a breakdown of the Vessel differences:
+
+13 Glowing Eyes: has a slightly different mix but no major change.
+
+14 Kitchen Sink: drums no longer seem bitcrushed and fit into the mix better, given their sibilances are EQ'd out. I'm not sure if they were just poorly mixed, poorly recorded, or intentionally bitcrushed in the original, but it really helps the entire track.
+
+15 Lovely: COMPLETELY re-imagined for Vessel. You can instantly hear it. If you can't, you're not listening to the original RAB version. No autotune, EXTREMELY different synth choice, re-recorded vocs, removed background vocs in several places and added new background vocs in others, removed bitcrushed noises, additional vocal effects in break in verse 2, added spoken lines with vocal effect in bridge (original is empty), angelic female (?) vocal sample was reworked, Tyler's vocal sample at very end of bridge is quite different, outro piano is simplified to just chords, whereas the original had a very simple counter-melody. Vessel ending is extended an additional 3 seconds for dramatic effect.
+
+16 Forest: Wider, rounder, healthier mix. The kick in the verse has far less low frequency response, so it distracts from the vocals a lot less. I think you assume the pads weren't there in the original because they were drowned out in the mix, they're just easier to hear in the new version. Though keep in mind, different speakers, headphones, etc have different frequency responses, so that has a huge effect on what you hear as well.
+
+Overall, the general auditory style of RAB is HARSH. More nasally vocals, a ton of Tyler doing screamy gang vocals by himself, autotune, rougher mixing, harsher and more prominent synths, more electronic/bitcrushed drums, harsher piano. I prefer it over Vessel's polish most the time. But obviously I would love a RAB rerelease that was just more professional mixing like in Kitchen Sink's Vessel rework. Will probably never happen but oh well. Have a good day and stay alive |-/

destruction/2024-09-22 FernGully.txt

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+I think it tries to tell a good story, but it's bogged down by a couple things, namely its writer/adapter. Diana Young wrote the original FernGully stories, which seem to be tough finds; I suspect them to be pulps fiction, and they were only abridged into one book to tie into the film(s) and TV show. These stories were adapted for the film by none other than Jim Cox, who also wrote the Rescuers: Down Under. Some of the nonsenical aspects of that film seem to have coincidentally bled over to this one. For example, young blond boy allegedly from Australia sounds just like an American. I'm sure there's a detailed explanation to this conventional artifact, but I'm not sure how much digging I want to do to try to figure it out. Could have been the industry not thinking it was an error. Could have been Cox being completely ignorant of regional accents, which is more common than some may think. Another common element would be nonsensical antagonists. Now, I think the major antagonist fits perfectly into the worldbuilding, it's the minor antagonists in the form of the workers that seem obtuse. People have reasons for doing what they do, they don't just HAHA LET'S KILL TREE! Moreover, the cartoonishly large behemoth of a tree-killing machine speaks volumes to the creator's beliefs on human ingenuity and capacity for evil. I have a suspicion that the loggers in Young's original story didn't use a machine like this, and Cox's pathological leanings encouraged him to create a behemoth. The basis for this suspicion is that Cox's other film has a similarly obtuse machine whose purpose is also to target nature, only in that case it was via poaching. That villain doesn't speak like an Australian either, but I don't remember if he was actually American. Moving on.
+
+The psychological read on these behemoth machines is that they embody the synthesis of two concepts: the human capacity for evil, and the human capacity for technological endeavors. It seems to be a conflation of the two; an oversimplification in error. Evil without technology is practically harmless, and someone who is practically harmless will likely become evil. Technology without evil is a fantastic, if perhaps theoretical, benefit for all creatures. The fact Cox put evil machines in two of his most well-known screenplays seems indicative of him thinking technology is evil, and perhaps, that humans are evil. I don't think we should be naive on the human capacity for evil, on the contrary, some of the imagery directed towards humans in this film are quite necessary to acknowledge. But if we dumb it down to "humans bad nature good" we will absolutely become hopeless and lose our purpose, individually and at large. Machines and technology are not inherently evil. On a biological level, my supposition is that multicellular, intelligent organisms such as ourselves only exist due to a collaboration to use adaptations to the greatest good possible, which is why our bodies are desgined and function similar to machines. If we are machines of a kind, and technology is an adaptation we use in order to more efficiently tackle the problems of life, then machines are simply an extension of us. And that's valuable. The machine is only as evil as the one who designed it, the one who operates it. The only technology in this film that isn't framed as evil, is Zak's walkman, and it's framed neutral-positive. I think this is because it's not seen as technology in the same way that the behemoth is seen as technology, even though categorically, they both meet the definition. The size, scope, and most importantly, purpose of each technology differs, but they are still both technology. I think Cox forgets this when he creates such behemoths. Again, it's not to say that the symbolic significance of them isn't lost on me, I just think it serves us better to be realistic in how these machines can be used for good, too, otherwise we risk reverting to a less morally advanced, paganistic, nature-worshipping people. Nature isn't separate from us, and nature isn't benevolent. It exists to kill you. Now, that doesn't mean we should go crazy on deforestation, it means we don't need to go too crazy in the other direction either. Conservation is important. Human life is more. It's not one or the other, there's a balance to be had in everything. The implicit ideology of this film is not balanced.
+
+Crysta and Zak agreeing that Zak must go back to humans to prevent them from continuing efforts of deforestation doesn't sit quite right with me. This aspect of the film is naive. The only way I think this plan could possibly work, is if they could document what happened to the machine. I think most people would see the machine being enveloped by nature as some sort of poetic justice, however religious this conclusion is. Many people saw covid's effect on human behavior, and the resultant effect on nature, as more proof that "the real virus is us!" and this is, of course, silly. But it's enough, perhaps, to encourage people there are forces that are outside of our control. At the same time, humans exist to make order out of chaos, so naturally, chaos makes them quite curious, and they'd flock to see what forces, magical or otherwise, could have caused such an unnatural thing to happen. So I'm not sure what the best possible solution is, but I know it's not simply "Zak becomes a tree-hugging activist who writes ludicrous stories about fairies and magic to own the greedy corporate lumberjacks". That is naive as hell in both positive and negative directions; it believes people to be "better" than they are, and people to be worse than they are in reality.
+
+Also, Batty is a character that creates massive tonal inconsistency. He seems anachronistic in many ways. Speaking of which, I think this film would have been FAR more tonally consistent if the songs sang by the FernGullians were classical, orchestral, choral compositions, rather than weird 90s hip-hop. It actually damages the worldbuilding; Crysta's father reacts to Zak's rock music with "that's not music that's just noise" when the songs sang by the animals are from the exact same, human society. It's anachronistic in a spacial, cultural sense. So perhaps Batty's anachronism comes from the fact that he was a lab bat, and he apparently has some sort of antenna that tunes in to TV frequencies that leak human elements into his psyche. Zak shouldn't have known how this worked functionally, by the way. He flicks the antenna to short it, saying "wrong channel," but that's the only line that we get to explain how his cybermetric component works. Batty probably should have said something more about it; in the beginning he seems to just be having electroconvulsive seizures that make him pretend to be different characters.
+
+Apologies for the ramble, this isn't as coherent as I usually prefer to be. Worldbuilding is okay, characters are okay, plot isn't so good. If you want your kids to have valid concern for the environment, and an understanding that technology can be used for evil, but can't be thrown out, and thus must be used for good, don't show 'em this. The Lorax suffices perfectly for this moral lesson, in practically all its iterations. In any case, I don't think you can go wrong with Seuss' original book, whereas I think the conclusions to be drawn from this film are morally complex at best, misleading at worst. Tell the truth, or at least don't lie. This film seems to implicitly fail at both. Doesn't mean it's worthless, but it does mean that it's not the best. I prefer to prioritize the best.

destruction/The Rescuers.md

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+This hardly qualifies as a *story*, let alone as a film. Next time you watch it, try to think of the purpose for ANY scene in this film and you will find yourself grasping at straws to try to justify its existence.
+
+Classic Disney worldbuilding issues in that the mouse world is in sync with the human world. If mice had governance, their system would scale to their size. A settlement under or inside a human house would be considered a city, the society in an entire human city would act as a State. Their world would be so large, they potentially wouldn't know what's outside of these states. They may not even know that other mouse societies exist, kind of like when the New World was discovered and colonized by Europe. But of course, because it's a children's movie, we have to pretend that a ridiculous concept like this could possibly exist within the context of this story. I reject this premise. If your story is "present day, except mice have human reason," that would require a knowledge of when mice became reasoning, and how their society developed as such so they develop alongside the human cultures without their culture and policies being vastly different. The assumption I made with The Great Mouse Detective might actually be the easiest fix: some sort of cosmic force causes every single human being to have a Mouse counterpart that mirrors every single thing that happens in the human world. It's bizarre, but so is the basic concept in the first place. A Zootopia-like evolutionary pathway would make more sense.
+
+So either way, for whatever reason the mice have their own version of the UN, but again, for whatever reason, it doesn't do what the UN does, it's just the Rescue Aid Society? So the mice don't govern themselves, and try to represent themselves on the world stage via a body like the UN? Or is that a different meeting? Lazy worldbuilding. So there's a body that for some reason needs mice from every country around the world, to decide who they should *rescue*...? Alright. And they're responding to a message in a bottle, so of course they need a janitor, of all people, to enter into the top of the bottle, rather than just knocking it over, because Disney wants to animate his funny struggles. They decipher the message and decide to send Hungary She-Mouse and Janitor Mouse, because Hungary liked that Janitor spoke up, because it was attractive? Janitor is "just the Janitor" when he's voluntold, but he still thought his voice should be heard when dictating policy to (presumably) representatives from the entire world... okay...
+
+Quick aside, this may be dependent on my subjective perception and bias, but this film seems to be... sociopolitically nonsensical? It romanticizes the UN as some kind of wonderful bastion of global solidarity and peace, its visual language seems to communicate a big "diversity is our strength" messaging. Besides this being childish nonsense in that diversity has no inherent value, it becomes more childish given that the Society is presumably intended to be the mouse version of the UN. There's nothing in the story to suggest that the Mouse-UN meets elsewhere, the Society is it. So the implication is that the purpose of the UN is to... rescue people... It should be self-evident to anybody with any semblance of geopolitical awareness that this is utterly ridiculous on its face. Conversely, when Janitor and Hungary visit Ex-Wife's pawn shop, there are decals indicating that this shop is affiliated with, donates to, or is supported by, the NRA, and that they sell firearms. This seems to me to be a tell, that the creators of this film see Ex-Wife as representative of pro-2nd Amendment Americans, or at least, that the exposition of a current-day (1977) villain includes being pro-2A. This is laughable and childish. Couple this with the fact that the gun she uses later vaguely resembles a tommygun, with a box mag, that clearly fires 20-gauge, 12-gauge, or perhaps .410 rounds, yet it *sometimes* has significant spread at close range, and *sometimes* at far range, but *sometimes* has the opposite. It can simultaneously shave Ex-Wife's Stooge's hair at mid-range, and blast pellet spread holes in the ship and other objects at point blank to far-range. The barrel of this mystery weapon resembles that of a rifle, which would make it impossible for it to fire any of the shotgun rounds it clearly fires. Box magazine-fed shotguns existed at this time, and still do, but they were highly impractical for feeding plastic shells, given the plastic would get bent out of round and prevent chambering or cause misfires or other hazards, which is why most shotguns feed their rounds via tubes. Leave it to somebody who knows literally nothing about firearms to malign over half the country by implying they're just like this woman. News flash: pro-2A people also believe in gun safety and responsibility; they would clearly see that Ex-Wife's mishandling of her Impossible™ Rifle was irresponsible and demonstrated egregious disregard for human life.
+
+So did they send them to save, or did they send them to investigate? Does the Society rescue any who are in need of rescue, or do they only rescue mice, given that they may not have the resources to rescue them otherwise? What resources do mice even have? We see all the Society's equipment are repurposed items from humans. They don't manufacture their own ladders, they just use combs. Do the mice manufacture anything? Do they have any sort of market? I'd imagine leftover human technologies would drive every aspect of commerce; construction for housing or otherwise, weapons, clothing, all possible technology would come from discarded, missing, or stolen human technology. But they don't seem to iterate on hardly any of it, only in the case of a few items. Good worldbuilding would make this a CONSTANT underlying visual, but they only seem to do it for a few items. Actually, the Bayou creature's home has miniturized technology. So they can manufacture their own stove and furniture from scratch but can't manufacture their own ladders?
+
+So the Society sent a Janitor and a spokeswoman from Hungary on a mission to do *something* about an unknown person who sent a message in a bottle, and their only lead is the name of an orphanage and a name, Penny. Presumably they knew it was a human orphanage, but if that was the case, why didn't they try to figure out how to get this message to humans so that their authorities could deal with it? Surely human problems require human solutions, given that mice aren't human size and thus can only solve mouse problems? So they show up to investigate and for whatever reason they immediately find the missing orphan's possessions in the closet. Forget that her posessions would likely be redistributed amongst the children according to the natural pecking order that will always ensue within a scenario like this, forget that to combat that they'd have to have her posessions in a storage area or in the Director's office or in the posession of some other leader. It's just here for the precise reason that the mice are looking for it. This writing is lazy. What they would have had to do is go to the node of mouse society that surely lives within this building, ask them if they know of someone who's gone missing, presumably an orphan named Penny. They'd have to gather information from these mice to understand Penny's predicament, who she was, where she's gone, so they can follow her trail. But this would require a thing called *effort*. They would have had to put in worldbuilding effort to mold the society that lives there, how they function, who they are. That would require concept artists, character designs, set designs, all consistent with worldbuilding that they never took the time to build. It's clear this film spent 10% of its time in pre-production, and 90% of its time in production.
+
+Because they didn't want to waste screen time on watching their paper-thin characters complete a challenge together in investigating, they had all their exposition coughed up to them by an old cat, who wears glasses for some reason. This old cat acts like he hardly knows Penny, but then in his flashback it shows that he's her Confidant, and almost behaves as a father figure to her, comforting her. So clearly the cat isn't a character either. Poorly told stories with zero internal consistency often do things like this, where a character behaves in a way that is contrary to what we're told, because the narrative itself is trying to tell us something that cannot be true. When stories force situations like this, it insults the intelligence of the audience. Penny even references the cat later, so clearly he's supposed to be an important character to her. But wouldn't that be sad that he hardly remembers her, then? Make it make sense. You don't have to make him seem old by making him forget something then immediately recall everything in a flashback. His character design and voice acting already indicate that he's old. The behavior we see in his treatment of Penny reinforces his character much more effectively. If you're going to have an unreliable narrator, do it on purpose.
+
+So the worldbuilding and plot clearly make no mechanical sense. Does it make up to it with its characters? Well I've already described them as paper-thin. Janitor is clearly quiet, unconfident, shy, and superstitious. He cautiously notes the occurrence of the number 13 twice, and is dismissed both times. These are both in Act 1. So you'd think they're a setup, but they never get paid off. 
+
+Hungary seems to be cheerful, pretty, hopeful, brave. She's a Mary Sue, because her naivety isn't in the story, but only in my perception. In a real world, her character would most definitely have undergone some significant changes since taking office as a ~~UN~~Society spokesperson; you generally don't get to enter them soft, but you surely won't leave geopolitical discussions with world leaders soft. In a real world, her hopeful and chipper demeanor would face challenges and prove that it was naivety. Someone who starts an optimist, eventually becomes a cynic, and then their optimism arises from those ashes with an edge to it. All young politicians, male or female, follow this arc. If she was fresh, she would not see adoration from so many of her peers just for being a pretty face. If she weren't fresh, she'd be a lot more cutthroat, or at least she'd have a spine. The world bends around her; classic artifacting of a Mary Sue. She faces zero resistance and immediately gets what she wants, with a shrug and with praise. The... Society Director...? Says that it's unprecedented, but oh well, I suppose there's a first for everything. Only a child thinks government works this way, which adds more proof to the pile that this movie was written by children. So clearly we see that bad character caused by bad worldbuilding causes more bad worldbuilding and bad plot. The triangle of storytelling is nonexistent in this story.
+
+Hungary supposedly ends up with Janitor, but they have zero chemistry. Every decision he makes, he makes because she insists, and he steps up to the plate because he wants to protect her. This could be a point of drama, but it's a missed opportunity, of course. Hungary should have fought for the Society's aid to the messenger. The Society could have resisted until Janitor spoke up. So in response, to punish both of them, the Society could have said to Hungary, you can go only on the condition you take Janitor with you. Janitor protests, Hungary protests, but gives up and realizes she has to take him with her, despite his lack of qualifications and real-world Rescue experience. His cowardice and lack of initiative could frustrate her. This cynic-optimist could tell him, "oh quit being a baby, we have a job to do." He could respond, "Well wait, I'm just a Janitor, but I won't let you lead the way, what if something dangerous happens?" She could respond indignantly, "I just faced down the entire Society of world leaders and it wasn't the first time. I can handle a little darkness." He could be bewildered by this. He could protest, "but you're a woman, you can't defend yourself..." she would retaliate, &c. This would effectively create a drama, and thus stakes, for our dual protagonist. The overarching plot would still be "Will they be able to save Penny?" but the subplot, perhaps all the more important, would be, "Will they be able to get along for the sake of their mission? Will they understand and set aside their differences? Might they even fall in love?" But instead, there are no stakes for their relationship, because she likes him, and chose him from the very beginning, for no reason other than that the story made her. Any good man will tell you that the first time he put his arm around her, representing that he finally earned her trust, was a feat of massive proportions, perhaps more than any physical feat could ever require. Here, she just cuddles up to him as he worries about their trip. No hope or fear, no stakes, nothing ventured, nothing gained. If you want to push a Positive™ Social™ Message™, maybe you shouldn't communicate to men that you can deserve the affection of women without doing anything to earn it. Maybe you should communicate that being a good man requires something of you. Maybe you should make a story like The Iron Giant. But not everybody can be Brad Bird, can they...
+
+Let's talk about Penny. In order to have stakes for our overarching plot, it would be nice to have more of the audience's social capital in her. Sure, she's worth saving because she's a character, a being with moral value, but the human psyche needs to know her in order to care. Does the film endear her to us enough? Overall, not very strongly. In the beginning, it's shaky. Her strife is enough to pull at the heartstrings of the empathetic. But there's not much personality on top of it, and she deserves more flesh, much like the rest of the damn film. Fundamentally, her first struggle is in getting adopted. We can assume why an orphan wants to get adopted. But we don't have much understanding of why she wants parents. Sure, parents come with love, pampering, more posessions, more freedom, and a home. But in order or us to understand why her heart aches for these things, we must first see how little she has. We could see that she doesn't get enough love, enough freedom, because perhaps the director or the older orphans treat her poorly. We could see that her posessions are redistributed according to the children's pecking order in the orphanage. We could see that she feels like she's at the very bottom of that hierarchy, perhaps that the entire world seems to bully her, so she shuts herself out to it, that the only one she can talk to is the cat, and perhaps the cat is only talking back in her imagination. We could see that all she wants is to be accepted, to be loved, and the only way she could ever get that is if only she could be adopted. What we get is weaker than my suggestion, because it's esoteric. It doesn't allow us to walk a mile in her shoes, it just gives us a platitude some of us may be able to understand. She says that she wasn't pretty enough, and this must be the case because the Redhead, who was pretty, got adopted, and she didn't. So for some reason, this was one of the last straws that caused her to run away? It's not strong enough of a motivation, and it's not in terms that can be universally understood to people who don't understand how much a little girl wants to feel pretty and feels destroyed when she thinks others proved her she's not.
+
+But this thread is strengthened when Ex-Wife says, "why would anybody want a homely little girl like you?". Homely is an out-of-style word that means ugly, by the way. This shatters Penny. Alone, she's clearly miserable. When I see that, I think, she's going to have self-esteem issues her whole life. But other people might not see that, because we're not in her shoes, because we didn't *see* what happened to give Penny that insecurity, we just know that Penny has that insecurity. To others who haven't gone through that, or haven't empathized with someone who has, this gives them nothing. But actually, I like what happens after this scene. At first, I was looking at the scene like every other scene in the film, just trying to find a single purpose in the scene. I was thinking, okay, there's a vocalist singing a song of hope here, but what within the *story* is helping Penny regain hope? She just looked down at the swamp, then up at the stars and got there? Then, she goes to her bed and prays. She prays for help, that her bottle will make it to someone. She recieved hope from belief in something higher than herself, which admittedly doesn't make sense given it happens *after* the small musical number, but at least it's *something*. And I like that her prayers are answered moments afterward. I guess it goes to show that the writers of the film believed in *something*, but it's definitely indicative of our societal decay when they clearly didn't understand *why* they believed in it. But that's neither here nor there.
+
+I think it could have been very interesting if Ex-Wife and her Stooge told Penny that they were her parents, and this caused her to give up on her dream of having parents. "If this is what having parents is like, maybe the only person I can depend on is myself. They were all lying when they said it would be nice." Imagine the Old Cat went with Hungary and Janitor, and found Penny had given up her hope. Imagine he had to remind her, and we could watch an emotional, dramatic scene between two characters with differing perspectives for once.
+
+There's just no depth, no flesh. The only redeeming quality was the artstyle. I actually really loved the artifacting; sometimes you could see the pencil tests flit into view, most obviiously on the Gators, Nero and Brutus (who are cleverly named after two prominent Greek historical figures). I'm not sure if this artifacting was borne of a low budget, but I saw it as endearing, though it may have been a mistake. But it highlights the Disney corporations' worst aspect of its legacy and history: they will waste beautiful animation on the practically nonexistent foundation of a worthless story. If you want somewhere to put flesh, you need some bones. I lament this fact for the sake of every animator who works in film. As an animator, or rather, as someone who has talent who wants to work on good stories, it pains me to see that the pearl of talent is so often casted before the swine of piss-poor writing. Disney himself focused a little too much on animating "movie magic," and that is seen as a recurring issue in his company's stories. But at least he was working on *functional* mechanics. Truth be told, the animation is just what we *see*. It's important, but it does nothing but bolster a story. I would rather all Disney films have the animation budget of Dumbo, but the writing quality and internal consistency of Brad Bird. If we have no standards for storytelling, why don't we just animate pretty stuff doing random things all over the place like in Fantasia? But even those were at least short stories. I can't bring myself to see it as nothing but pure laziness; the audiences haven't realized the quality of the stories they're being sold is as low as it gets, so they end up a boiled frog to a corporation cutting pre-production costs.
+
+I've said it before and I'll say it again: don't tolerate poorly written stories, no matter how pretty they look. This is not a "classic," because it's good. It's because you watched it when you were young. Nobody can erase the emotional connection one has with the films and events of their childhood or otherwise. But my coming to terms with some of the stories I enjoyed when I was young, are not well-crafted, has helped me appreciate well-crafted films all the more. For example, I thought Ratatouille was emotionally significant, and I still love that film. But understanding that it's not well-crafted makes me realize that those emotional highs are lesser for it. But when you craft a story better, when your characters are molded into a world that makes sense, when it's like watching true events unfold as a fly on the wall, you don't have to think about it, because somebody else actually took the care to think about it for you. A writer who cares about their story will consider every aspect of their story as their own children. So they will make them and the world in which they live, as real as they possibly can. Children won't comprehend this, but as they grow older, the realistic world you created will have taught them lessons, made them think, in ways that bungled storytelling like this, never could. Adults may not think about it, but it'll only confuse them if you cannot communicate your story well. So, to the writers: write your story well, so the animators have something worth spending hours of their time animating over. Write your story well, so the corporation that pays your bills can confidently sell a product that is high-quality enough to be worth the price of admission. Write your story well, so that the children who may see it can have a greater understanding of the real world, and a greater appreciation of joy that can be found in life. Write your story well, so that the adults can have the same, with an even greater depth of understanding. Write your story well, so that you can say at the end of your life that you did something more than hedonistically, hurriedly jot some platitudes down, so that you may say that you stood for something and left a mark on the world that created value that would not exist, had you not done so.
+
+Some writers want to do that. But they're incentivised not to, because the industry says the juice isn't worth the squeeze. I say, let's raise our standards as both consumers *and* industry-folk, so that they may see that's not the case.

kay/alternateseggychristmas_001.fountain

@@ -0,0 +1,573 @@
+Title: _alternateseggychristmas_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: i have ~~paraphilias~~ issues
+
+/*
+inspired by between sleep daydream right before having to go to work 11/29/2022 ~7:30am. Wasn't entirely conscious; my brain is so used to the fake scenarios method that it attempts to re-enter sleep stages by utilizing the method even when not conscious. It's a bit spooky that my fantasies have been so far engrained into both the conscious and subconscious that this happens. I've conditioned myself through habitual fantasizing that my brain itself has rewired to have wacky habits. The honry is too strong. Anyway my fav scenario as of late has been that of getting double dicked by Sara and Kay, and Sara mommy domming the both of us. The semiconscious dream derived from the scenario was that of me being in a relationship with Sara (seemed to be in old house bedroom which really solidifies it as a dream but it having been somewhat lucidly triggered by semiconscious thought... this pseudoscience is strange...) and Kay being on the outside trying to barge her way into it and finally succeeding in creating a sort of polycule between the three of us. I don't think I could do it in real life. That's why it's just a fantasy. Bit of a guilty pleasure I think. But it goes like Kay is domming me, trying to own me, Sara then doms and reclaims me by sitting on my lap and forcing my face into her chest, then making out with Kay. She says something sarcastic/bratty back to her, Sara slaps her and forces to call her mom or something. It was a subconscious thought man don't judge me.
+
+Anyway the following is derived from me thinking about it throughout work day; what if this spiderverse scenario was accidentally and unknowingly triggered on Kay, specifically a version of Kay who had claimed me after her transformation and we lived together, but the universe she is transported, seemingly abducted to, is identical to her native universe except the only variable changed was that Sara was sent to her own Inner Sanctum rather than Kay; Sara has similar abilities, underwent a similar transformation. Perhaps the reasoning for her transformation could be different and more fitting than Kay's; Kay was sent because she was trying to lose weight while being forced not to, breaking physics and causing her to be reverted to a spiritual state, where her soul had to fight within her consciousness (represented in 3 dimensions by an Inner Sanctum) with her problems, conquering them and once that internal conflict was resolved, the Sanctum was exited and her body transformed at a time dilated pace. I think that justification makes sense but could be expanded upon in the main storyline. However, I'm having trouble trying to make it fit how this could work for Sara. I like the idea that she becomes muscle mommy rather than chubby mommy with unequivalent physical power to her appearance, but I'm thinking in order for the requirements for a Sanctum transformation to be met, there would have to be something changed about myself as well. I was the one who caused some of the requirements for the Sanctum to be met by having such a crush on Kay, but also a big thing for chubby girls, that I didn't want her to lose weight but fantasized about a world where she could be that weight but healthy and also happy with herself, forcing her to remain that weight, causing the Sanctum entrance and eventually creating that world. Perhaps Sara's would be in reverse. She wants to work out, alt-me encourages her to work out because alt-me has a muscle mommy thing > chubby mommy thing, my fantasies change to be more suited to make Sara the one who gets Sanctum'd. I would rather that be the case than the requriements for Sanctuming be changed, though in an infinite multiverse that is admittedly also a variable that could be changed.
+
+I find the fantasies thing interesting; a big part of my fantasies are literally just that my fantasy lover's powers just fix the stimuli to my OCD. I hate things being unsanitary and uncomfortable, especially in relation to sex. Her powers remove those issues. I think this explains why Sara's powers would be similar even if the reason her transformation occurred was quite different. My idealized version of any lover could consistently have the same healing and superhuman powers. I kinda love the idea of being immortal with one parter; both Kay's and Sara's powers would be able to bring someone back from even death and even restore them to a point as if nothing happened, with some exceptions. I think some scars could remain or perhaps become more defined because both Kay and I subconsciously control what the healing does and would be very thematically interesting; I like some scars, perhaps she can find them hot as well, thus they remain, almost divinely.
+
+I'm thinking Sara would have far more restraint when it comes to killing someone or inflicting pain, even though she'd have a similar or perhaps identically potent healing power. A line from Kay to her recognizing "If I discovered someone in my home fucking my husband I wouldn't be able to stop myself from killing them."
+
+This entire thing is why it's so tough just to write multiverse shit and slap in a million different versions of the same individuals into one story and call it good. There's so much depth to be explored with even just two differing universes with only a couple slightly tweaked variables. Not only is the exploration of that depth often far more interesting, but it's far more feasible because exploring that depth can clear up a lot of confusion on how the different versions are different and how they realistically ended up that way. With some multiverse content you just have to go "hm, guess that's just x character from the dimension where y variable is different" and that's just so incredibly boring... Not even to get into how F'd multiversal travel and god forbid multiversal threats can be to your previously well-grounded, well-written story. Perhaps the way it works in my multiverse is that eventually, everyone spends at least one day pulled into an alternate universe and has to figure out how to reverse it or something. Could be interesting. So at least once, either someone from the origin-verse or whatever is pulled out, like in this story, or someone from another universe visits the origin-verse. Could be interesting.
+
+Anyhow, I was struggling to figure out how spacial continuity would work between these dimensions; a home being lived in by me and Kay would likely be completely different from a home being lived in by me and Sara, even if it were the same building and everything. I don't exactly know why, but this lead me to think that this event occurs on Christmas; Kay and I have had a long, eventful day with much food eaten, and she takes a nap on the couch while I head in to game/stream. She unknowingly is transported during this nap.
+*/
+
+INT. DARK TV ROOM - NIGHT
+
+Kay lies asleep, catatonic. She lies on her right side on the couch. Her boner is distincly visible via the bulge in her Illumination-Grinch pajamas. It flops down to the side with gravity and twitches with her. It rests on her meaty thighs, and there she lies; the embodiment of a closet furry bisexual chubby chaser's wet dream.
+
+/*I want her to have a seggy pet name for me. i guess I'll go with subby for now? I could probably think of something better but idk.*/
+Her *moans* get too loud for her to remain asleep and she wakes. The moan that wakes her forms a word:
+
+KAY
+(softly)
+Subby-
+
+She sits up. We follow her, our view as disorienting as her mood. She sits up, shaking her head and massaging her penis. She bites her lip and blearily wanders through the dark house, hand still stimulating herself. She briefly checks her apple watch. '4:30 AM'.
+
+/*she says this to convince herself it's ok to */
+KAY
+(mumbled)
+No work in the morning.
+
+She wanders down a hallway to their shared OFFICE.
+
+INT. DARK OFFICE - NIGHT
+
+The regular computer-emitted fan noises and light isn't present. Her tired eyes note only this.
+
+KAY
+(mumbled)
+Slut's done streaming.
+
+She immediately heads to their bedroom.
+
+INT. DARK BEDROOM - NIGHT
+
+She pokes her head in the open doorway. She sees NATHAN, blindfolded, covered completely by blankets. He's nowhere near as catatonic as her while sleeping. She grins deviously and rubs harder.
+
+CUT TO:
+INT. CLOSET SHELF
+
+We see a closet shelf housing several of the couple's favorite tools: a leather choker-like leash and collar, a ball gag, varying lengths of soft black nylon rope. Kay takes them.
+
+/*initially intended as a tie to the wall, makes a bit more sense for the leash to be present if she ties his wrists instead*/
+When the bed is finally approached, she lies the tools down on it, puts her hand in front of Nathan's face for a couple seconds, then pulls the covers off him. Nothing but boxers shroud his feminine ass, which distracts Kay. She caresses him, shifting up and down from his thighs to above his hips. She snaps back to focus, equipping his gag, /*tying him to the clearly intentional mounted metal loop above their also clearly intentional less extravagant headboard.*/ binding his wrists and ankles. His boxers are slipped off, the leash is secured. Kay's Grinch PJs and accompanying plain boxers come off and she gets right into pleasuring herself with him. She thrusts into him, upright, with him bent over the edge of the bed. A *moan* of satisfaction and release escapes her. She chuckles erotically through her nose as she proceeds to pound him. It's clear she needed this.
+
+Nathan wakes, *moaning alongside her.* Noting this, Kay leans down, nibbling his ear.
+
+KAY
+Merry Christmas, slut.
+
+For some reason, this sets Nathan off. He struggles against his binds, attempting to shout through his gag, but Kay's steady hands keep his hips in place.
+
+KAY
+(laughing)
+Calm down, subby.
+
+We see a view of her from the bed, facing the door. Her gray T-shirt emblazened with the word 'PROVO' is the only thing that shields us from her large, bouncing breasts. Her expression is as lustful as can be expected. A SHADOW approaches from the door. It speaks.
+
+SHADOW
+Nathan, are you being horny without me ag- WHAT THE FUCK?
+
+Kay's eyes widen immensely as the light *clicks* on, but immediately turn to squinting at the brightness. The figure at the door is strikingly similar to her. Furry, big fuzzy tail, somewhat canid face, thick thighs and arms, cute PJs grudgingly concealing her bulge. But she has brown hair, brown eyes, far more toned muscles, a Studio Ghibli mashup shirt. She's a red panda. And she's glaring at Kay with fury, who stumbles back, awkwardly pulling out to stare incredulously at the strange woman across from her.
+
+SARA
+WHO THE FUCK ARE YOU, BITCH?
+
+SARA lunges at Kay, tackling her into the headboard, which makes a terrible crunching sound. Sara punches Kay three times in the face. Right, right, left. Stunned, Kay grabs Sara's right as it attempts another blow. She pushes against her full mass, launching Sara into the far wall, destroying the drywall. Nathan lets out a gagged yell in protest.
+
+Kay follows up, lunging at Sara, who dodges and punches Kay in her exposed groin in one motion. She stumbles back, but not before Sara can't grab her by the neck and land another blow to the face.
+
+The next few moments are quick. Kay attempts a right hook, which is deflected by Sara, who attempts an uppercut, which is caught by Kay's free hand. Once over the surprise, they're perfectly in sync in hand to hand combat. They push each other away and simultaneously unsheath their weapons.
+
+The Acriamative flashes, and Sara's double shortswords rise to meet it. A deafening CLANG emits. Both women and the captive Nathan stare in shock and awe at the reveal.
+
+Beat.
+
+Both women yell and attempt to hit each other. It's clear neither of them are practiced swordswomen, though Sara quickly unmounts her weapons from their armbands to unlock a better range of motion. Neither can deflect the other's hits, and deep gashes open in both of them. Kay's blood is a dark pink, while Sara's is a dark aquamarine. The walls are heavily damaged by this exchange and the fight stumbles back into the TV room. Nathan hastily attempts to crawl and then awkwardly hop to follow, terrified.
+
+INT. TV ROOM
+
+The room is only illuminated by the light streaming through destroyed bedroom wall. Kay shoves Sara to the ground and raises the Acriamative, but Sara shakily raises her weapons to attempt to deflect it.
+
+Nathan tackles Kay, his recently loosed ball gag bumping on his chest. Her wounds have weakened her, so she topples into the couch where we started. He hits her with his still-tied hands. His useless hits are in sync with his words.
+
+NATHAN
+You can't kill her! She'll just come back.
+
+He gets up and away from her quickly, shaking. He attempts to help Sara up, an awkward process with his limbs still tied. He falls over.
+
+NATHAN
+Fuckinhellshit.
+
+He unties his ankles as quick as he can, watching Kay, who gets to her feet in a daze.
+
+NATHAN
+Stay back!
+
+He succeeds in helping Sara up. She's just as weakened as Kay, who stops, swaying, attempting to keep the Acriamative aloft. She breathes heavily.
+
+KAY
+Nathan... Who the hell is this bitch?
+
+Nathan just stares, putting both his hands on Sara's shoulders. Sara shakes her shoulders and elbows him as the two women begin to circle each other.
+
+SARA
+Get out of our house or you're going to die. Nathan, fuck off.
+
+NATHAN
+No, that wasn't-
+
+KAY
+*Your* hou- I bought this house!
+
+SARA
+What? I bought it. We *live* here.
+
+Kay shakes her head and snarls.
+
+KAY
+No, this is *my* house, that's *my* boyfriend, and I'm gonna fucking kill you.
+
+SARA
+Holy shit, she's your girlfriend?
+
+Sara pushes Nathan into the corner as the two continue to circle each other.
+
+NATHAN
+NO, NO, NO!
+
+The circling causes Nathan to be behind Kay instead of Sara.
+
+KAY
+Oh, no doubt the wife is secret too. I'm gonna pound your brains out once I take care of this bitch. Clearly you need to be taught how to be loyal again.
+
+She points at Nathan. Sara yells in frustration and slashes. It's weakly deflected, and the lunge causes them to switch sides again.
+
+NATHAN
+Sara, stop, I don't know who this is.
+
+KAY
+(sarcastically)
+Oh, I wouldn't remember my high school crush either. All the dates, all the hintdropping I totally forgot. The romantic stalking and kidnapping, moving in together, the training and fighting and life risking just totally slipped my mind.
+
+SARA
+Nathan, call Delta Jay.
+
+
+/*replace IMC with whatever fictional or otherwise realistic faction I want Delta Jay to be a part of*/
+KAY
+Why would you call him, he's *my* IMC liason.
+
+SARA
+Yeah, well he works for *me.*
+
+KAY
+Oh, that's a weird coincidence because he actually works for *me*, and I'm sure he'll send you hell once he finds out how much you've wounded me.
+
+SARA
+The IMC can't stop me.
+
+KAY
+And you can't stop me. I can't die.
+
+SARA
+Neither can I, bitch.
+
+NATHAN
+Holy shit. You're Kalani, aren't you?
+
+Sara and Kay stop to look at the naked femboy.
+
+KAY
+(sarcastically)
+Took you long enough, hi, it's your *girlfriend of two years.*
+
+NATHAN
+Fuck you, we got married two years ago!
+
+He points to Sara, whose eyes flit between her lover and Kay. Kay allows the Acriamative to fall as she gestures dejectedly.
+
+KAY
+Damn it, and I was just about to propose, too. I can't fucking believe this, I fucking knew I should have dated girls instead.
+
+Sara shakes her head in disbelief.
+
+SARA
+What?
+
+Sara combines her two sword whips into one.
+
+KAY
+My question is, how the fuck did you hide an entire marriage from me *and* manage to convince *her* she owns our house. I thought you were a genius, but apparently you're stupid enough to think I wouldn't find out about this shit.
+
+SARA
+Bitch, this is OUR HOUSE!
+
+The women glare at each other.
+
+NATHAN
+Stop, stop stop stop stop stop. Whoever you are, you're insane, Sara I would never cheat on you. I thought you decided to surprise me by- byf- byf- bfuckin tying me up, but is was her. She was raping me in my sleep.
+
+He points at Kay, opens his still tied hands towards Sara, stimming with his fingers and shaking his head. He very much speaks with his hands.
+
+Kay and Sara both lower their weapons slightly, hiding their eyes behind their hands in shock in a mini-facepalm. Nathan notices the similar response and looks confusedly at both of them.
+
+KAY
+You're really going to lie to leave me for a fuckin panda. You just *love* telling the truth until you can find another fuck buddy.
+
+NATHAN
+I've never seen you in my life!
+
+KAY
+I've fucked you in the ass every night since twenty twenty two, you dumb whore!
+
+SARA
+You said her name though.
+
+NATHAN
+Yeah, you sound like Kalani, but I haven't talked to her for years.
+
+SARA
+Oh, Kalani the lesbian you- wait...
+
+KAY
+I'm sure as hell a lesbian now!
+
+SARA
+Put your dick away then, so my cheating husband can stop staring at it.
+
+Nathan blushes profusely.
+
+NATHAN
+Rape, rape, rape, she *raped* me.
+
+KAY
+Nathan, you *love* getting raped.
+
+NATHAN
+Oh my fff...
+
+He's lost for words. Sara and Kay watch him for a moment, but snap back to each other, their stares are no longer as hostile.
+
+SARA
+(confusedly)
+So clearly we've both had a lot of sex with Nathan without either of us finding out he was a cheater.
+
+NATHAN
+But that's not true! I can count on one hand the amount of times Kalani and I hung out, we never so much as flirted after sophomore year!
+
+SARA
+Oh, oh, but you *said* you fantasized about her constantly until we started hooking up. Turns out they weren't fantasies.
+
+KAY
+Damn right they weren't.
+
+SARA
+Fuck this.
+
+She gets up to leave, staggering as she clutches her bloodstained shirt.  Nathan grabs her.
+
+NATHAN
+Slow down slow down, stop. Please please please just sit down and rest. Untie me, I'll get my clothes, we can grab some soda and stop you from bleeding out. Sara look at me. You have to believe me. We're going to get an explanation from her.
+
+KAY
+Wait, Sara?
+
+Nathan and Sara look at Kay, who slumps down on the couch, her weapon clanging to the ground as she grips her side.
+
+KAY
+Nathan and I know a Sara, and she doesn't look like you. Something's gone horribly wrong.
+
+NATHAN
+Sara, sara, see? Untie me, untie me.
+
+She obliges, still staring at Kay. Nathan rushes back into the destroyed bedroom. Kay pulls what's left of her shirt down to cover up her still slightly erect cock. Sara looks away and pretends like she doesn't see it.
+
+SARA
+Sara's a very common name. I only know one Kalani.
+
+KAY
+You sound exactly like her though. We both went to Jordan, but didn't properly meet until Nathan invited us both over for a movie night. I thought you were pretty hot but I thought you two were dating otherwise...
+
+NATHAN
+(muffled from bedroom)
+Oh, no way.
+
+SARA
+Thanks? Wait. Was there anyone else there? What movie did you watch?
+
+KAY
+I brought my best friend Ana over. Nathan had some of his friends.
+
+SARA
+We watched Alien and Aliens.
+
+KAY
+You watched Aliens?
+
+SARA
+Yeah, but you two left as we went to get ice cream.
+
+Nathan reappears fully clothed. He tosses Kay's PJs and boxers back to her.
+
+NATHAN
+I thought I recognized those pants. Cumberbatch grinch, not Carrey.
+
+Kay gets up to put her clothes back on. Her cock is still massive when flaccid. Sara turns away, but Nathan only pretends not to look.
+
+KAY
+It's ok to stare.
+
+SARA
+(growling)
+Not when it's you, it's not.
+
+Sara grabs Nathan by the arm and pushes him to turn away.
+
+NATHAN
+I'm the victim here, she raped me.
+
+SARA
+We all know you fuckin enjoyed it.
+
+NATHAN
+Yeah, when I thought it was you!
+
+KAY
+Guys, stop. We're all the victims of a misunderstanding, not rape. Nathan talks about this shit all the time.
+
+Cut to the three sitting down, fully clothed. Kay is on the corner of the sectional, Sara on one of the ends, Nathan on the ottoman inbetween them. The three of them sip sodas from the mini-fridge.
+
+/*
+alternate confrontation/realization
+
+NATHAN
+How come you two are the only two superhuman, humanoid lifeforms with conjurable custom weapons on this earth?
+
+Beat.
+
+KAY
+I got my powers because of you.
+
+SARA
+*/
+
+KAY
+What we're going to do is we're going to describe our relationship with the other two how we see it, I'll go first. I'm Kalani Lindsay Whitmore. I met Nathan at Jordan in freshman year, had a crush on him sophomore year. We texted and hung out a couple times during college, and I...
+
+She pauses.
+
+/*perhaps it's out of character to be as upfront as she is about this so this can be trimmed*/
+KAY (CONT.)
+I was very self-conscious about my weight. It was kind of... destroying my life. I pushed away my roommates and family and lived on my own, I was too depressed and anxious to go to school, I wasn't paying bills, all I was doing was exercising and eating. But I couldn't lose weight. It was like I was cursed. So I stopped eating. I starved myself, but my damn scale wouldn't move an ounce. I thought I was going crazy. One day I collapsed on the treadmill and blacked out. When I woke up, I was in another world. I was transformed, I wasn't human anymore. I had to fight monsters and survive, and all the while I knew he did it.
+
+She points at Nathan. Sara puts a hand to her mouth in realization.
+
+KAY (CONT.)
+I had powers. Super strength. My hyperhydrosis turned into something different. I still sweat a ton, but it wasn't gross anymore. I had healing powers. I can control things with my pheromones, I could knock things out.
+
+Sara and Nathan exchange glances several times. Nathan snaps incessantly.
+
+SARA
+I don't sweat very much at all, but I can do all those things too, it's just a lot harder.
+
+Kay nods.
+
+KAY (CONT.)
+Hang on. So when I finally found out how to return to this world, I started stalking him. Found his streams, twitter, everything. My entire life was all about figuring out how to live with my new form and figuring out everything about him. That and... anyway, I was obsessed, I wanted to own him. /*I began to sneak into his house in the dead of night and...*/ Well eventually it drove me insane and I wanted to be with him in person, so I devised a way to use my pheromones to trick people into thinking I looked completely human. Doesn't work on video obviously but anyone who was within a couple feet of me saw me as how I used to be. I went to his work with a mask and sunglasses to hide most of my appearance, walked right up to him and...
+
+She sighs. Nathan stims by bobbing his leg and swilling his soda around in the can. Sara similarly bobs her leg.
+
+KAY (CONT.)
+Eventually I snuck into his house, we had a consensual kidnapping, it was really romantic and hot, he loved it, he always loved being put in his place by me. We dated ever since. We moved in together, he told me how he thought my powers worked, we trained together, took up vigilantism, got picked up by the IMC, eventually we worked out a deal where they supported my efforts and sent me on missions while Nathan stayed at home being a boywife. I was going to surprise him with another kidnapping and proposing to him... somewhere special, I don't know. Now I'm not even sure if that was real or anything because you don't remember at all, and...
+
+Her voice breaks, she looks away. A pause.
+
+NATHAN
+So I did think you were crazy, then I thought you were a figment of my old fantasies that manifested itself physically to destroy my life and marriage, and now I think you're from an alternate universe where what happened to Sara happened to you somehow.
+
+KAY
+*There's* the shit Nathan always talks about.
+
+Sara fidgets with her ring.
+
+SARA
+I thought I was special.
+
+NATHAN
+You are, of course you are. Even in an infinite multiverse.
+
+KAY
+Ok, Sara next. I met you at a movie night he invited us to years ago, I knew Nathan always really liked you, you were friends for ages, made animations together, you're working on a TV show. He always insisted you were just friends but I knew he would fuck you in a heartbeat given the chance. Can't blame him, you're hot.
+
+Nathan groans and stims harder, shaking his head.
+
+NATHAN
+Oh, this is weird, Kalani is telling me my wife is hot and I haven't fucked her.
+
+KAY
+Well, where I come, you haven't. *Yet.*
+
+She growls the last word. Sara scowls.
+
+SARA
+How am I supposed to take this? How do I know you're not making all of this up?
+
+NATHAN
+Hang on here, let's just assume this theory is correct. Occam's razor may not whittle away the multiverse explanation, I don't have any better way of seeing this. We basically have to find out which one of us doesn't belong here.
+
+KAY
+Sara, you next. How do you know Nathan? Pretend you know neither of us and describe it as though we're new people entirely.
+
+Sara looks at the others, scowls at both and sighs.
+
+SARA
+We met at CTEC. Became really good friends. I knew him for several years. He always knew how to rile me up, but he had a way with words. Helped me through a breakup after a four-year relationship. I needed a lot of time to get over it, but all the while I was fighting feelings for him. Needed him really bad. Vented it out by going to the gym. One day I came home and...
+
+She shakes her head and sighs.
+
+SARA
+Same thing as you. Collapsed, was in another world, fought my demons, came back, fucked his subby brains out, proposed, married, became a superhero, yada yada.
+
+Nathan gets up and puts his arm around her. She tenses up, but doesn't stop him.
+
+NATHAN
+And how do you know Kalani?
+
+SARA
+(reluctantly)
+Same as you, she's the lesbian who you were obsessed with in high school and college.
+
+NATHAN
+I- no, she just-
+
+KAY
+It's true, you were obsessed. You told me your fantasies about dicks caused me to manifest one.
+
+Sara grins, slapping his thigh.
+
+NATHAN
+Oookay, glad we're on the same page here, anyway, I knew Kalani in high school, she was terrible at keeping contact and I was always second-guessing how much she wanted to talk to me, even after hanging out a couple times. She... ended up showing some red flags. And she liked girls more anyway so we drifted apart.
+
+KAY
+Okay, I think the difference is that I went to the Sanctum first and became obsessed with you, while your Kalani was never sent to the Sanctum in the first place.
+
+NATHAN
+She's not *my* Kalani.
+
+SARA
+Our *universe's* Kalani.
+
+NATHAN (CONT.)
+Your personality is entirely different from our Kalani though.
+
+KAY
+Yeah, I've been through a lot. You stopped talking to me when I was like, twenty.
+
+NATHAN
+No, *you* stopped talking to me.
+
+KAY
+You should really hit me up sometime, like right now actually. Am I still working, did I get the hospital job, or am I in social work? Am I still single? Did I finally have gay sex or did I never find someone in Utah gay or desperate enough to be willing to scissor me?
+
+NATHAN
+Now *that* sounded a lot like you except for the gay sex part.
+
+KAY
+Oh, you'd be surprised, I miss the idea of pussy so much.
+
+NATHAN
+Getting warmer.
+
+SARA
+Okay, you can fantasize about selfcest on your own time. What I want to know is what your dick was doing in my husband.
+
+NATHAN
+Well, I mean, it makes sense. Kalani was a pussy and couldn't propose to me as early as you did, but we still were just as together as you and I. We've got similar sexual tastes and a similar relationship... uh, dynamic, it's no wonder that I would wake up getting railed, tied up, and gagged...
+
+This distracts the ADHD trio. Then they remember one of them is from a different universe. Sara hits Nathan.
+
+SARA
+Anyway...
+
+NATHAN
+Anyway, your cock was amazing.
+
+Sara glares at him and hits him again.
+
+NATHAN
+I mean just as good as Sara's if not- I mean I thought it was her until I recognized your voice. Well not recognized. Just knew it wasn't hers.
+
+KAY
+You really are the exact same, you sub. I just wish I could uh... I mean you're not my Nathan so whatever. I'm just happy you're happy I guess. Though if I were in a universe where you were still me and not someone else I'd totally be down for a three-way.
+
+Kay points at Sara, who bristles at her statement and hits her. Nathan hides his face in Sara's fur.
+
+KAY
+Sorry, I can't help myself around him! Surely you feel the need to dirty talk too!
+
+SARA
+Not when his alternate dimension crush just fucked my sloppy seconds and tried to kill me.
+
+NATHAN
+Sloppy seconds?! We're married!
+
+KAY
+And I don't want to get inbetween you obviously, I thought I was fucking my boyfriend for like the seven thousandth orgasmic time.
+
+SARA
+And I thought some bitch was stealing him from me.
+
+NATHAN
+And I thought I was getting pulverized by my wife's 10-inch monster cock, we get it. None of us did anything to purposely hurt the others except you two. Clearly we were all thinking with the wrong head. Or no that was just you two and your cock measuring contest for who has the coolest weapon, by the way, it's Sara, sorry Kay, no chance, but if we're going to have a cock measuring contest I prefer one that doesn't involve two of the most powerful humans in existence bleeding out fighting over me. Actually, how big is your cock?
+
+SARA
+Nathan!
+
+Kay grins, shifting her weight a little nervously.
+
+KAY
+Eight flaccid, ten erect, twelve on viagra or a good day.
+
+NATHAN
+(overcome)
+Oh, fuck me.
+
+SARA
+(gritting teeth)
+That's *my job.*
+
+Nathan jumps up.
+
+NATHAN
+And who am I to leave my wife unemployed? Anyhow, I say we go get some McDick's. Both of you must be starving and you've got cells to regenerate. I'll get the keys, babe.
+
+He prances out of the room, sipping his soda. Both women follow his ass with their eyes, and then they quickly snap to each other.
+
+SARA
+I'm a master of stealth. Try to fuck him again and I'll kill you. What's more is that he'll probably let you and then I'll divorce him and he'll die alone.
+
+Kay gets up, examines her bloody shirt, and sheathes the Acriamative as she talks, taking several steps away from Sara.
+
+/*Something in this conversation needs to address how she got there in the first place and therefore how to get her back. Perhaps after MCD they go to alpha jay or perhaps nafan and sara already figured out something though that's less likely*/
+
+KAY
+And then when I figure out how to return to my universe you'll get lonely and ressurrect him, I get it. He's all yours. Though the offer's still on the table, he always said you were secretly bi and I'd fuck the shit out of both of you in a heartbeat.
+
+Sara's weapons disappear from the floor as she unsheaths them into her hands. Kay knows the sound well.
+
+KAY
+I know I drive a hard bargain but suit yourself. I know my Nathan wouldn't mind.
+
+SARA
+(grumbling)
+That's what I'm afraid of.
+
+/*her return to her original universe is indicative of how much the experience changed her. rather than returning to do honry things to nafan in his sleep, she wakes him up, something he normally hates and thus she would never do, to ensure he knows who she is and that they're actually together. He's confused but gives her the information she needed, she sleepily says she'll tell him in the morning.*/

kay/alternateseggychristmas_002.fountain

@@ -0,0 +1,662 @@
+Title: _alternateseggychristmas_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: i have ~~paraphilias~~ issues
+
+/*
+inspired by between sleep daydream right before having to go to work 11/29/2022 ~7:30am. Wasn't entirely conscious; my brain is so used to the fake scenarios method that it attempts to re-enter sleep stages by utilizing the method even when not conscious. It's a bit spooky that my fantasies have been so far engrained into both the conscious and subconscious that this happens. I've conditioned myself through habitual fantasizing that my brain itself has rewired to have wacky habits. The honry is too strong. Anyway my fav scenario as of late has been that of getting double dicked by Sara and Kay, and Sara mommy domming the both of us. The semiconscious dream derived from the scenario was that of me being in a relationship with Sara (seemed to be in old house bedroom which really solidifies it as a dream but it having been somewhat lucidly triggered by semiconscious thought... this pseudoscience is strange...) and Kay being on the outside trying to barge her way into it and finally succeeding in creating a sort of polycule between the three of us. I don't think I could do it in real life. That's why it's just a fantasy. Bit of a guilty pleasure I think. But it goes like Kay is domming me, trying to own me, Sara then doms and reclaims me by sitting on my lap and forcing my face into her chest, then making out with Kay. She says something sarcastic/bratty back to her, Sara slaps her and forces to call her mom or something. It was a subconscious thought man don't judge me.
+
+Anyway the following is derived from me thinking about it throughout work day; what if this spiderverse scenario was accidentally and unknowingly triggered on Kay, specifically a version of Kay who had claimed me after her transformation and we lived together, but the universe she is transported, seemingly abducted to, is identical to her native universe except the only variable changed was that Sara was sent to her own Inner Sanctum rather than Kay; Sara has similar abilities, underwent a similar transformation. Perhaps the reasoning for her transformation could be different and more fitting than Kay's; Kay was sent because she was trying to lose weight while being forced not to, breaking physics and causing her to be reverted to a spiritual state, where her soul had to fight within her consciousness (represented in 3 dimensions by an Inner Sanctum) with her problems, conquering them and once that internal conflict was resolved, the Sanctum was exited and her body transformed at a time dilated pace. I think that justification makes sense but could be expanded upon in the main storyline. However, I'm having trouble trying to make it fit how this could work for Sara. I like the idea that she becomes muscle mommy rather than chubby mommy with unequivalent physical power to her appearance, but I'm thinking in order for the requirements for a Sanctum transformation to be met, there would have to be something changed about myself as well. I was the one who caused some of the requirements for the Sanctum to be met by having such a crush on Kay, but also a big thing for chubby girls, that I didn't want her to lose weight but fantasized about a world where she could be that weight but healthy and also happy with herself, forcing her to remain that weight, causing the Sanctum entrance and eventually creating that world. Perhaps Sara's would be in reverse. She wants to work out, alt-me encourages her to work out because alt-me has a muscle mommy thing > chubby mommy thing, my fantasies change to be more suited to make Sara the one who gets Sanctum'd. I would rather that be the case than the requriements for Sanctuming be changed, though in an infinite multiverse that is admittedly also a variable that could be changed.
+
+I find the fantasies thing interesting; a big part of my fantasies are literally just that my fantasy lover's powers just fix the stimuli to my OCD. I hate things being unsanitary and uncomfortable, especially in relation to sex. Her powers remove those issues. I think this explains why Sara's powers would be similar even if the reason her transformation occurred was quite different. My idealized version of any lover could consistently have the same healing and superhuman powers. I kinda love the idea of being immortal with one parter; both Kay's and Sara's powers would be able to bring someone back from even death and even restore them to a point as if nothing happened, with some exceptions. I think some scars could remain or perhaps become more defined because both Kay and I subconsciously control what the healing does and would be very thematically interesting; I like some scars, perhaps she can find them hot as well, thus they remain, almost divinely.
+
+I'm thinking Sara would have far more restraint when it comes to killing someone or inflicting pain, even though she'd have a similar or perhaps identically potent healing power. A line from Kay to her recognizing "If I discovered someone in my home fucking my husband I wouldn't be able to stop myself from killing them."
+
+This entire thing is why it's so tough just to write multiverse shit and slap in a million different versions of the same individuals into one story and call it good. There's so much depth to be explored with even just two differing universes with only a couple slightly tweaked variables. Not only is the exploration of that depth often far more interesting, but it's far more feasible because exploring that depth can clear up a lot of confusion on how the different versions are different and how they realistically ended up that way. With some multiverse content you just have to go "hm, guess that's just x character from the dimension where y variable is different" and that's just so incredibly boring... Not even to get into how F'd multiversal travel and god forbid multiversal threats can be to your previously well-grounded, well-written story. Perhaps the way it works in my multiverse is that eventually, everyone spends at least one day pulled into an alternate universe and has to figure out how to reverse it or something. Could be interesting. So at least once, either someone from the origin-verse or whatever is pulled out, like in this story, or someone from another universe visits the origin-verse. Could be interesting.
+
+Anyhow, I was struggling to figure out how spacial continuity would work between these dimensions; a home being lived in by me and Kay would likely be completely different from a home being lived in by me and Sara, even if it were the same building and everything. I don't exactly know why, but this lead me to think that this event occurs on Christmas; Kay and I have had a long, eventful day with much food eaten, and she takes a nap on the couch while I head in to game/stream. She unknowingly is transported during this nap.
+*/
+
+INT. DARK TV ROOM - NIGHT
+
+Kay lies asleep, catatonic. She lies on her right side on the couch. Her boner is distincly visible via the bulge in her Illumination-Grinch pajamas. It flops down to the side with gravity and twitches with her. It rests on her meaty thighs, and there she lies; the embodiment of a closet furry bisexual chubby chaser's wet dream.
+
+[[I want her to have a seggy pet name for me. i guess I'll go with subby for now? I could probably think of something better but idk.]]
+Her *moans* get too loud for her to remain asleep and she wakes. The moan that wakes her forms a word:
+
+KAY
+(softly)
+Subby-
+
+She sits up. We follow her, our view as disorienting as her mood. She sits up, shaking her head and massaging her penis. She bites her lip and blearily wanders through the dark house, hand still stimulating herself. She briefly checks her apple watch. '4:30 AM'.
+
+[[she says this to convince herself it's ok to]]
+KAY
+(mumbled)
+No work in the morning.
+
+She wanders down a hallway to their shared OFFICE.
+
+INT. DARK OFFICE - NIGHT
+
+The regular computer-emitted fan noises and light aren't present. Her tired eyes note only this.
+
+KAY
+(mumbled)
+Slut's done streaming.
+
+She immediately heads to their bedroom.
+
+INT. DARK BEDROOM - NIGHT
+
+She pokes her head in the open doorway. She sees NATHAN, blindfolded, covered completely by blankets. He's nowhere near as catatonic as her while sleeping. She grins deviously and rubs harder.
+
+CUT TO:
+INT. CLOSET SHELF
+
+We see a closet shelf housing several of the couple's favorite tools: a leather choker-like leash and collar, a ball gag, varying lengths of soft black nylon rope. Kay takes them.
+
+[[initially intended as a tie to the wall, makes a bit more sense for the leash to be present if she ties his wrists instead]]
+When the bed is finally approached, she lies the tools down on it, puts her hand in front of Nathan's face for a couple seconds, then pulls the covers off him. Nothing but boxers shroud his feminine ass, which distracts Kay. She caresses him, shifting up and down from his thighs to above his hips. She snaps back to focus, equipping his gag, /*tying him to the clearly intentional mounted metal loop above their also clearly intentional less extravagant headboard.*/ binding his wrists and ankles. His boxers are slipped off, the leash is secured. Kay's Grinch PJs and accompanying plain boxers come off and she gets right into pleasuring herself with him. She thrusts into him, upright, with him bent over the edge of the bed. A *moan* of satisfaction and release escapes her. She chuckles erotically through her nose as she proceeds to pound him. It's clear she needed this.
+
+Nathan wakes, *moaning alongside her.* Noting this, Kay leans down, nibbling his ear.
+
+KAY
+Merry Christmas, slut.
+
+For some reason, this sets Nathan off. He struggles against his binds, attempting to shout through his gag, but Kay's steady hands keep his hips in place.
+
+KAY
+(laughing)
+Calm down, subby.
+
+We see a view of her from the bed, facing the door. Her gray T-shirt emblazened with the word 'PROVO' is the only thing that shields us from her large, bouncing breasts. Her expression is as lustful as can be expected. Nathan continues to moan and struggle in protest.
+
+KAY
+This is quite the performance,  I'm impressed.
+
+A moment passes, then a SHADOW approaches from the door. It speaks.
+
+SHADOW
+Nathan, are you being horny without me ag- WHAT THE FUCK?
+
+Kay's eyes widen immensely as the light *clicks* on, but immediately turn to squinting at the brightness. The figure at the door is strikingly similar to her. Furry, big fuzzy tail, somewhat canid face, thick thighs and arms, cute PJs grudgingly concealing her bulge. But she has brown hair, brown eyes, far more toned muscles, a Studio Ghibli mashup shirt. She's a red panda. And she's glaring at Kay with fury, who stumbles back, awkwardly pulling out to stare incredulously at the unfamiliar woman across from her.
+
+KAY
+Wha-
+
+SARA
+WHO THE FUCK ARE YOU, BITCH?
+
+SARA lunges at Kay, tackling her into the headboard, which makes a terrible crunching sound. Sara punches Kay three times in the face. Right, right, left. Stunned, Kay grabs Sara's right as it attempts another blow. She pushes against her full mass, launching Sara into the far wall, destroying the drywall. Nathan lets out a gagged yell in protest.
+
+Kay follows up, lunging at Sara, who dodges and punches Kay in her exposed groin in one motion. She stumbles back, but not before Sara grabs her by the neck and lands another blow to her face.
+
+The next few moments are quick. Kay attempts a right hook, which is deflected by Sara, who attempts an uppercut, which is caught by Kay's free hand. Once over the surprise, they're perfectly in sync in hand to hand combat. They push each other away and simultaneously unsheath their weapons.
+
+The Acriamative flashes, and Sara's double shortswords rise to meet it. A deafening CLANG emits. Both women and the captive Nathan stare in shock and awe at the reveal.
+
+(beat)
+
+Both women yell and attempt to hit each other. It's clear neither of them are practiced swordswomen, though Sara quickly unmounts her weapons from their armbands to unlock a better range of motion. Neither can deflect the other's hits, and deep gashes open in both of them. Kay's blood is a dark pink, while Sara's is a dark aquamarine. The walls are heavily damaged by this exchange and the fight stumbles back into the TV room. Nathan hastily attempts to crawl and then awkwardly hop to follow, terrified.
+
+.FIGHT TO TV ROOM
+
+The room is only illuminated by the light streaming through destroyed bedroom wall. Kay shoves Sara to the ground and raises the Acriamative, but Sara shakily raises her weapons to attempt to deflect it.
+
+Nathan tackles Kay, his recently loosed ball gag bumping on his chest. Her wounds have weakened her, so she topples into the couch where we started. He hits her with his still-tied hands. His useless hits are in sync with his words.
+
+NATHAN
+You can't kill her! She'll just come back.
+
+He gets up and away from her quickly, shaking. He attempts to help Sara up, an awkward process with his limbs still tied. He falls over.
+
+NATHAN
+Fuckinhellshit.
+
+He unties his ankles as quick as he can, watching Kay, who gets to her feet in a daze.
+
+NATHAN
+Stay back!
+
+He succeeds in helping Sara up. She's just as weakened as Kay, who stops, swaying, attempting to keep the Acriamative aloft. She breathes heavily.
+
+KAY
+Nathan... Who the hell is this bitch?
+
+Nathan just stares, putting both his hands on Sara's shoulders. Sara shakes her shoulders and elbows him as the two women begin to circle each other.
+
+SARA
+Get out of our house or you're going to die. Nathan, fuck off.
+
+NATHAN
+No, that wasn't-
+
+KAY
+*Your* hou- I bought this house!
+
+SARA
+What? I bought it. We *live* here.
+
+Kay shakes her head and snarls.
+
+KAY
+No, this is *my* house, that's *my* boyfriend, and I'm gonna fucking kill you.
+
+SARA
+Holy shit, she's your girlfriend?
+
+Sara pushes Nathan into the corner as the two continue to circle each other.
+
+NATHAN
+NO, NO, NO!
+
+The circling causes Nathan to be behind Kay instead of Sara.
+
+KAY
+Oh, no doubt the wife is secret too. I'm gonna pound your brains out once I take care of this bitch. Clearly you need to be taught how to be loyal again.
+
+She points at Nathan. Sara yells in frustration and slashes. It's weakly deflected, and the lunge causes them to switch sides again.
+
+NATHAN
+Sara, stop, I don't know who this is.
+
+KAY
+(sarcastically)
+Oh, I wouldn't remember my high school crush either. All the dates, all the hintdropping I totally forgot. The romantic stalking and kidnapping, moving in together, the training and fighting and life risking just totally slipped my mind.
+
+SARA
+Nathan, call Delta Jay.
+
+
+[[replace IMC with whatever fictional or otherwise realistic faction I want Delta Jay to be a part of]]
+KAY
+Why would you call him, he's *my* IMC liason.
+
+SARA
+Yeah, well he works for *me.*
+
+KAY
+Oh, that's a weird coincidence because he actually works for *me*, and I'm sure he'll send you hell once he finds out how much you've wounded me.
+
+SARA
+The IMC can't stop me.
+
+KAY
+And you can't stop me. I can't die.
+
+SARA
+Neither can I, bitch.
+
+NATHAN
+Holy shit. You're Kalani, aren't you?
+
+Sara and Kay stop to look at the naked femboy.
+
+KAY
+(sarcastically)
+Took you long enough, hi, it's your *girlfriend of two years.*
+
+NATHAN
+Fuck you, we got married two years ago!
+
+He points to Sara, whose eyes flit between her lover and Kay. Kay allows the Acriamative to fall as she gestures dejectedly.
+
+KAY
+Damn it, and I was just about to propose, too. I can't fucking believe this, I fucking knew I should have dated girls instead.
+
+Sara shakes her head in disbelief.
+
+SARA
+What?
+
+Sara combines her two sword whips into one warily.
+
+KAY
+My question is, how the fuck did you hide an entire marriage from me *and* manage to convince *her* she owns our house. I thought you were a genius, but apparently you're stupid enough to think I wouldn't find out about this shit.
+
+SARA
+Bitch, this is OUR HOUSE!
+
+The women glare at each other.
+
+NATHAN
+Stop, stop stop stop stop stop. Whoever you are, you're insane, Sara I would never cheat on you. I thought you decided to surprise me by- byf- byf- bfuckin tying me up, but is was her. She was raping me in my sleep.
+
+He points at Kay, opens his still tied hands towards Sara, stimming with his fingers and shaking his head. He very much speaks with his hands.
+
+Kay and Sara both lower their weapons slightly, hiding their eyes behind their hands in shock in a mini-facepalm. Nathan notices the similar response and looks confusedly at both of them.
+
+KAY
+You're really going to lie to leave me for a fuckin panda. You just *love* telling the truth until you can find another fuck buddy.
+
+NATHAN
+I've never seen you in my life!
+
+KAY
+I've fucked you in the ass every night since twenty twenty two, you dumb whore!
+
+SARA
+You said her name though.
+
+NATHAN
+Yeah, you sound like Kalani, but I haven't talked to her for years.
+
+SARA
+Oh, Kalani the lesbian you- wait...
+
+KAY
+I'm sure as hell a lesbian now!
+
+SARA
+Put your dick away then, so my cheating husband can stop staring at it.
+
+Nathan blushes profusely.
+
+NATHAN
+Rape, rape, rape, she *raped* me.
+
+KAY
+Nathan, you *love* getting raped.
+
+NATHAN
+Oh my fff...
+
+He's lost for words. Sara and Kay watch him for a moment, but snap back to each other, their stares are no longer as hostile.
+
+SARA
+(confusedly)
+So clearly we've both had a lot of sex with Nathan without either of us finding out he was a cheater.
+
+NATHAN
+But that's not true! I can count on one hand the amount of times Kalani and I hung out, we never so much as flirted after sophomore year!
+
+SARA
+Oh, oh, but you *said* you fantasized about her constantly until we started hooking up. Turns out they weren't fantasies.
+
+KAY
+Damn right they weren't.
+
+SARA
+Fuck this.
+
+She gets up to leave, staggering as she clutches her bloodstained shirt.  Nathan grabs her.
+
+NATHAN
+Slow down slow down, stop. Please please please just sit down and rest. Untie me, I'll get my clothes, we can grab some soda and stop you from bleeding out. Sara look at me. You have to believe me. We're going to get an explanation from her.
+
+KAY
+Wait, Sara?
+
+Nathan and Sara look at Kay, who slumps down on the couch, her weapon clanging to the ground as she grips her side.
+
+KAY
+Nathan and I know a Sara, and she doesn't look like you. Something's gone horribly wrong.
+
+NATHAN
+Sara, sara, see? Untie me, untie me.
+
+She obliges, still staring at Kay. Nathan rushes back into the destroyed bedroom. Kay pulls what's left of her shirt down to cover up her still slightly erect cock. Sara looks away and pretends like she doesn't see it.
+
+SARA
+Sara's a very common name. I only know one Kalani.
+
+KAY
+You sound exactly like her though. We both went to Jordan, but didn't properly meet until Nathan invited us both over for a movie night. I thought you were pretty hot but I thought you two were dating otherwise...
+
+NATHAN (O.S.)
+Oh, no way.
+
+SARA
+Thanks? Wait. Was there anyone else there? What movie did you watch?
+
+KAY
+I brought my best friend Ana over. Nathan had some of his friends.
+
+SARA
+We watched Alien and Aliens.
+
+KAY
+You watched Aliens?
+
+SARA
+Yeah, but you two left as we went to get ice cream.
+
+Nathan reappears fully clothed. He tosses Kay's PJs and boxers back to her.
+
+NATHAN
+I thought I recognized those pants. Cumberbatch grinch, not Carrey.
+
+Kay gets up to put her clothes back on. Her cock is still massive when flaccid. Sara turns away, but Nathan only pretends not to look.
+
+KAY
+It's ok to stare.
+
+SARA
+(growling)
+Not when it's you, it's not.
+
+Sara grabs Nathan by the arm and pushes him to turn away.
+
+NATHAN
+I'm the victim here, she raped me.
+
+SARA
+We all know you fuckin enjoyed it.
+
+NATHAN
+Yeah, when I thought it was you!
+
+KAY
+Guys, stop. We're all the victims of a misunderstanding, not rape. Nathan talks about this shit all the time.
+
+Cut to the three sitting down, fully clothed, besides the torn shirts and blood. Nathan's ballgag is replaced by a choker. Kay is on the corner of the sectional, Sara on one of the ends, Nathan on the ottoman inbetween them. The three of them sip sodas from the mini-fridge.
+
+/*
+alternate confrontation/realization
+
+NATHAN
+How come you two are the only two superhuman, humanoid lifeforms with conjurable custom weapons on this earth?
+
+(beat)
+
+KAY
+I got my powers because of you.
+
+SARA
+*/
+
+KAY
+What we're going to do is we're going to describe our relationship with the other two how we see it, I'll go first. I'm Kalani Lindsay Whitmore. I met Nathan at Jordan in freshman year, had a crush on him sophomore year. We texted and hung out a couple times during college, and I...
+
+She pauses.
+
+[[perhaps it's out of character to be as upfront as she is about this so this can be trimmed]]
+KAY
+I was very self-conscious about my weight. It was kind of... destroying my life. I pushed away my roommates and family and lived on my own, I was too depressed and anxious to go to school, I wasn't paying bills, all I was doing was exercising and eating. But I couldn't lose weight. It was like I was cursed. So I stopped eating. I starved myself, but my damn scale wouldn't move an ounce. I thought I was going crazy. One day I collapsed on the treadmill and blacked out. When I woke up, I was in another world. I was transformed, I wasn't human anymore. I had to fight monsters and survive, and all the while I knew he did it.
+
+She points at Nathan. Sara puts a hand to her mouth in realization.
+
+KAY
+I had powers. Super strength. My hyperhydrosis turned into something different. I still sweat a ton, but it wasn't gross anymore. I had healing powers. I can control things with my pheromones, I could knock things out.
+
+Sara and Nathan exchange glances several times. Nathan snaps incessantly.
+
+SARA
+I don't sweat very much at all, but I can do all those things too, it's just a lot harder.
+
+Kay nods.
+
+KAY
+Hang on. So when I finally found out how to return to this world, I started stalking him. Found his streams, twitter, everything. My entire life was all about figuring out how to live with my new form and figuring out everything about him. That and... anyway, I was obsessed, I wanted to own him. /*I began to sneak into his house in the dead of night and...*/ Well eventually it drove me insane and I wanted to be with him in person, so I devised a way to use my pheromones to trick people into thinking I looked completely human. Doesn't work on video obviously but anyone who was within a couple feet of me saw me as how I used to be. I went to his work with a mask and sunglasses to hide most of my appearance, walked right up to him and...
+
+She sighs. Nathan stims by bobbing his leg and swilling his soda around in the can. Sara similarly bobs her leg.
+
+KAY
+Eventually I snuck into his house, we had a consensual kidnapping, it was really romantic and hot, he loved it, he always loved being put in his place by me. We dated ever since. We moved in together, he told me how he thought my powers worked, we trained together, took up vigilantism, got picked up by the IMC, eventually we worked out a deal where they supported my efforts and sent me on missions while Nathan stayed at home being a boywife. I was going to surprise him with another kidnapping and proposing to him... somewhere special, I don't know. Now I'm not even sure if that was real or anything because you don't remember at all, and...
+
+Her voice breaks, she looks away. A pause.
+
+NATHAN
+So I did think you were crazy, then I thought you were a figment of my old fantasies that manifested itself physically to destroy my life and marriage, and now I think you're from an alternate universe where what happened to Sara happened to you somehow.
+
+KAY
+*There's* the shit Nathan always talks about.
+
+Sara fidgets with her ring.
+
+SARA
+I thought I was special.
+
+NATHAN
+You are, of course you are. Even in an infinite multiverse.
+
+KAY
+Ok, Sara next. I met you at a movie night he invited us to years ago, I knew Nathan always really liked you, you were friends for ages, made animations together, you're working on a TV show. He always insisted you were just friends but I knew he would fuck you in a heartbeat given the chance. Can't blame him, you're hot.
+
+Nathan groans and stims harder, shaking his head.
+
+NATHAN
+Oh, this is weird, Kalani is telling me my wife is hot and I haven't fucked her.
+
+KAY
+Well, where I come, you haven't. *Yet.*
+
+She growls the last word. Sara scowls.
+
+SARA
+How am I supposed to take this? How do I know you're not making all of this up?
+
+NATHAN
+Hang on here, let's just assume this theory is correct. Occam's razor may not whittle away the multiverse explanation, I don't have any better way of seeing this. We basically have to find out which one of us doesn't belong here.
+
+KAY
+Sara, you next. How do you know Nathan? Pretend you know neither of us and describe it as though we're new people entirely.
+
+Sara looks at the others, scowls at both and sighs.
+
+SARA
+We met at CTEC. Became really good friends. I knew him for several years. He always knew how to rile me up, but he had a way with words. Helped me through a breakup after a four-year relationship. I needed a lot of time to get over it, but all the while I was fighting feelings for him. Needed him really bad. Vented it out by going to the gym. One day I came home and...
+
+She shakes her head and sighs.
+
+SARA
+Same thing as you. Collapsed, was in another world, fought my demons, came back, fucked his subby brains out, proposed, married, became a superhero, yada yada.
+
+Nathan gets up and puts his arm around her. She tenses up, but doesn't stop him.
+
+NATHAN
+And how do you know Kalani?
+
+SARA
+(reluctantly)
+Same as you, she's the lesbian who you were obsessed with in high school and college.
+
+NATHAN
+I- no, she just-
+
+KAY
+It's true, you were obsessed. You told me your fantasies about dicks caused me to manifest one.
+
+Sara grins, slapping his thigh.
+
+NATHAN
+Oookay, glad we're on the same page here, anyway, I knew Kalani in high school, she was terrible at keeping contact and I was always second-guessing how much she wanted to talk to me, even after hanging out a couple times. She... ended up showing some red flags. And she liked girls more anyway so we drifted apart.
+
+KAY
+Okay, I think the difference is that I went to the Sanctum first and became obsessed with you, while your Kalani was never sent to the Sanctum in the first place.
+
+NATHAN
+She's not *my* Kalani.
+
+SARA
+Our *universe's* Kalani.
+
+NATHAN
+Your personality is entirely different from our universe's Kalani though.
+
+KAY
+Yeah, I've been through a lot. You stopped talking to me when I was like, twenty.
+
+NATHAN
+No, *you* stopped talking to me.
+
+KAY
+You should really hit me up sometime, like right now actually. Am I still working, did I get the hospital job, or am I in social work? Am I still single? Did I finally have gay sex or did I never find someone in Utah gay or desperate enough to be willing to scissor me?
+
+NATHAN
+Now *that* sounded a lot like you except for the gay sex part.
+
+KAY
+Oh, you'd be surprised, I miss the idea of pussy so much.
+
+NATHAN
+Getting warmer.
+
+SARA
+Okay, you can fantasize about selfcest on your own time. What I want to know is what your dick was doing in my husband.
+
+NATHAN
+Well, I mean, it makes sense. Kalani was a pussy and couldn't propose to me as early as you did, but we still were just as together as you and I. We've got similar sexual tastes and a similar relationship... uh, dynamic, it's no wonder that I would wake up getting railed, tied up, and gagged...
+
+This distracts the ADHD trio. Then they remember one of them is from a different universe. Sara hits Nathan.
+
+SARA
+Anyway...
+
+NATHAN
+Anyway, your cock was amazing.
+
+Sara glares at him and hits him again.
+
+NATHAN
+I mean just as good as Sara's if not- I mean I thought it was her until I recognized your voice. Well not recognized. Just knew it wasn't hers.
+
+KAY
+You really are the exact same, you sub. I just wish I could uh... I mean you're not my Nathan so whatever. I'm just happy you're happy I guess. Though if I were in a universe where you were still me and not someone else I'd totally be down for a three-way.
+
+Kay points at Sara, who bristles at her statement and hits her. Nathan hides his face in Sara's fur.
+
+KAY
+Sorry, I can't help myself around him! Surely you feel the need to dirty talk too!
+
+SARA
+Not when his alternate dimension crush just fucked my sloppy seconds and tried to kill me.
+
+NATHAN
+Sloppy seconds?! We're married!
+
+KAY
+And I don't want to get inbetween you obviously, I thought I was fucking my boyfriend for like the seven thousandth orgasmic time.
+
+SARA
+And I thought some bitch was stealing him from me.
+
+NATHAN
+And I thought I was getting pulverized by my wife's 10-inch monster cock, we get it. None of us did anything to purposely hurt the others except you two. Clearly we were all thinking with the wrong head. Or no that was just you two and your cock measuring contest for who has the coolest weapon, by the way, it's Sara, sorry Kay, no chance, but if we're going to have a cock measuring contest I prefer one that doesn't involve two of the most powerful humans in existence bleeding out fighting over me. Actually, how big is your cock?
+
+SARA
+Nathan!
+
+Kay grins, shifting her weight a little nervously.
+
+KAY
+Eight flaccid, ten erect, twelve on viagra or a good day.
+
+NATHAN
+(overcome)
+Oh, fuck me.
+
+SARA
+(gritting teeth)
+That's *my job.*
+
+Nathan jumps up.
+
+NATHAN
+And who am I to leave my wife unemployed? Anyhow, I say we go get some McDick's. Both of you must be starving and you've got cells to regenerate. I'll get the keys, babe.
+
+[[really needed to be said]]
+SARA
+We're not going anywhere until we find out where she's from, why she's here, and how to get rid of her. She could still be lying about all of this.
+
+KAY
+I can't lie with him in the room, he's not mine, but he's still Nathan.
+
+NATHAN
+That's- okay. Oddly familiar.
+
+He sits back down.
+
+SARA
+Stop doing that. This has to be some sort of hit operation. The IMC augmented someone to come in as an actor to either kill me or sabotage our marriage.
+
+KAY
+How would the IMC know about our trust pact thing?
+
+SARA
+He's always going off about honesty. Delta Jay must have known and snitched.
+
+KAY
+Oh! They don't know he has a rape fetish.
+
+NATHAN
+Don't put it that way.
+
+SARA
+Even if you *are* from another universe, why come here to fuck someone else's husband?
+
+KAY
+I *didn't,* I wouldn't. I like my husband all to myself and I wouldn't steal someone else's, it'd kill him. I woke up here, right on the couch. Thought it was my house.
+(beat)
+
+SARA
+But how did you get there.
+
+KAY
+Maybe I dreamed too hard. Maybe this is a dream borne out of my insecurities knowing he'd be with you given the choice. All I know is I woke up horny and all three of us can't blame each other for that.
+
+Nathan makes a confused noise.
+
+SARA
+Ok, fine. If you got here by sleeping, you can leave by sleeping. Can I kill you?
+
+NATHAN
+Consent is key.
+
+KAY
+Bitch, you can try. I was winning anyway.
+
+SARA
+As if. I'll send you back right now.
+
+She resheathes only a small section of her resting weapon; a single stealth knife.
+
+NATHAN
+Let's... not be too stab-happy. Even if you can kill her and she doesn't come back, how do you know that she's returned and you haven't just killed her?
+
+KAY
+Yeah I don't wanna die, not without cumming first.
+
+SARA
+Find someone else to help you with that.
+
+NATHAN
+Help! Of course, we'll take her to the IMC ASAP after mcdeez. They'll be fascinated with her, remember the Lab, Sara?
+
+Sara squints with frustration upon remembering. Nathan gets up again.
+
+SARA
+I try not to.
+
+NATHAN
+Ok, that's a deal! This is going to be the best magdondal trip yet. I can ask you all about your universe and how it's different and how it's the same, just amazing!
+
+He prances out of the room, sipping his soda.
+
+NATHAN
+(laughing)
+Oh, merry fuckin' Christmas!
+
+Both women follow his ass with their eyes, and then they quickly snap to each other.
+
+SARA
+I'm a master of stealth. Try to fuck him again and I'll kill you. What's more is that he'll probably let you and then I'll divorce him and he'll die alone.
+
+Kay gets up, examines her bloody shirt, and sheathes the Acriamative as she talks, taking several steps away from Sara.
+
+[[Something in this conversation needs to address how she got there in the first place and therefore how to get her back. Perhaps after MCD they go to delta jay or perhaps nafan and sara already figured out something though that's less likely]]
+
+KAY
+And then when I figure out how to return to my universe you'll get lonely and ressurrect him, I get it. He's all yours. Though the offer's still on the table, he always said you were secretly bi and I'd fuck the shit out of both of you in a heartbeat.
+
+Sara's weapons disappear from the floor as she unsheaths them into her hands. Kay knows the sound well.
+
+KAY
+I know I drive a hard bargain but suit yourself. I know my Nathan wouldn't mind.
+
+SARA
+(grumbling)
+That's what I'm afraid of.
+
+[[her return to her original universe is indicative of how much the experience changed her. rather than returning to do honry things to nafan in his sleep, she wakes him up, something he normally hates and thus she would never do, to ensure he knows who she is and that they're actually together. He's confused but gives her the information she needed, she sleepily says she'll tell him in the morning.]]

kay/alternateseggychristmas_003.fountain

@@ -0,0 +1,726 @@
+Title: _alternateseggychristmas_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: i have ~~paraphilias~~ issues
+
+/*
+inspired by between sleep daydream right before having to go to work 11/29/2022 ~7:30am. Wasn't entirely conscious; my brain is so used to the fake scenarios method that it attempts to re-enter sleep stages by utilizing the method even when not conscious. It's a bit spooky that my fantasies have been so far engrained into both the conscious and subconscious that this happens. I've conditioned myself through habitual fantasizing that my brain itself has rewired to have wacky habits. The honry is too strong. Anyway my fav scenario as of late has been that of getting double dicked by Sara and Kay, and Sara mommy domming the both of us. The semiconscious dream derived from the scenario was that of me being in a relationship with Sara (seemed to be in old house bedroom which really solidifies it as a dream but it having been somewhat lucidly triggered by semiconscious thought... this pseudoscience is strange...) and Kay being on the outside trying to barge her way into it and finally succeeding in creating a sort of polycule between the three of us. I don't think I could do it in real life. That's why it's just a fantasy. Bit of a guilty pleasure I think. But it goes like Kay is domming me, trying to own me, Sara then doms and reclaims me by sitting on my lap and forcing my face into her chest, then making out with Kay. She says something sarcastic/bratty back to her, Sara slaps her and forces to call her mom or something. It was a subconscious thought man don't judge me.
+
+Anyway the following is derived from me thinking about it throughout work day; what if this spiderverse scenario was accidentally and unknowingly triggered on Kay, specifically a version of Kay who had claimed me after her transformation and we lived together, but the universe she is transported, seemingly abducted to, is identical to her native universe except the only variable changed was that Sara was sent to her own Inner Sanctum rather than Kay; Sara has similar abilities, underwent a similar transformation. Perhaps the reasoning for her transformation could be different and more fitting than Kay's; Kay was sent because she was trying to lose weight while being forced not to, breaking physics and causing her to be reverted to a spiritual state, where her soul had to fight within her consciousness (represented in 3 dimensions by an Inner Sanctum) with her problems, conquering them and once that internal conflict was resolved, the Sanctum was exited and her body transformed at a time dilated pace. I think that justification makes sense but could be expanded upon in the main storyline. However, I'm having trouble trying to make it fit how this could work for Sara. I like the idea that she becomes muscle mommy rather than chubby mommy with unequivalent physical power to her appearance, but I'm thinking in order for the requirements for a Sanctum transformation to be met, there would have to be something changed about myself as well. I was the one who caused some of the requirements for the Sanctum to be met by having such a crush on Kay, but also a big thing for chubby girls, that I didn't want her to lose weight but fantasized about a world where she could be that weight but healthy and also happy with herself, forcing her to remain that weight, causing the Sanctum entrance and eventually creating that world. Perhaps Sara's would be in reverse. She wants to work out, alt-me encourages her to work out because alt-me has a muscle mommy thing > chubby mommy thing, my fantasies change to be more suited to make Sara the one who gets Sanctum'd. I would rather that be the case than the requriements for Sanctuming be changed, though in an infinite multiverse that is admittedly also a variable that could be changed.
+
+I find the fantasies thing interesting; a big part of my fantasies are literally just that my fantasy lover's powers just fix the stimuli to my OCD. I hate things being unsanitary and uncomfortable, especially in relation to sex. Her powers remove those issues. I think this explains why Sara's powers would be similar even if the reason her transformation occurred was quite different. My idealized version of any lover could consistently have the same healing and superhuman powers. I kinda love the idea of being immortal with one parter; both Kay's and Sara's powers would be able to bring someone back from even death and even restore them to a point as if nothing happened, with some exceptions. I think some scars could remain or perhaps become more defined because both Kay and I subconsciously control what the healing does and would be very thematically interesting; I like some scars, perhaps she can find them hot as well, thus they remain, almost divinely.
+
+I'm thinking Sara would have far more restraint when it comes to killing someone or inflicting pain, even though she'd have a similar or perhaps identically potent healing power. A line from Kay to her recognizing "If I discovered someone in my home fucking my husband I wouldn't be able to stop myself from killing them."
+
+This entire thing is why it's so tough just to write multiverse shit and slap in a million different versions of the same individuals into one story and call it good. There's so much depth to be explored with even just two differing universes with only a couple slightly tweaked variables. Not only is the exploration of that depth often far more interesting, but it's far more feasible because exploring that depth can clear up a lot of confusion on how the different versions are different and how they realistically ended up that way. With some multiverse content you just have to go "hm, guess that's just x character from the dimension where y variable is different" and that's just so incredibly boring... Not even to get into how F'd multiversal travel and god forbid multiversal threats can be to your previously well-grounded, well-written story. Perhaps the way it works in my multiverse is that eventually, everyone spends at least one day pulled into an alternate universe and has to figure out how to reverse it or something. Could be interesting. So at least once, either someone from the origin-verse or whatever is pulled out, like in this story, or someone from another universe visits the origin-verse. Could be interesting.
+
+Anyhow, I was struggling to figure out how spacial continuity would work between these dimensions; a home being lived in by me and Kay would likely be completely different from a home being lived in by me and Sara, even if it were the same building and everything. I don't exactly know why, but this lead me to think that this event occurs on Christmas; Kay and I have had a long, eventful day with much food eaten, and she takes a nap on the couch while I head in to game/stream. She unknowingly is transported during this nap.
+*/
+
+INT. DARK TV ROOM - NIGHT
+
+Kay lies asleep, catatonic. She lies on her right side on the couch. Her boner is distincly visible via the bulge in her Illumination-Grinch pajamas. It flops down to the side with gravity and twitches with her. It rests on her meaty thighs, and there she lies; the embodiment of a closet furry bisexual chubby chaser's wet dream.
+
+[[I want her to have a seggy pet name for me. i guess I'll go with subby for now? I could probably think of something better but idk.]]
+Her *moans* get too loud for her to remain asleep and she wakes. The moan that wakes her forms a word:
+
+KAY
+(softly)
+Subby-
+
+She sits up. We follow her, our view as disorienting as her mood. She sits up, shaking her head and massaging her penis. She bites her lip and blearily wanders through the dark house, hand still stimulating herself. She briefly checks her apple watch. '4:30 AM'.
+
+/*
+she says this to convince herself it's ok to
+
+edit 2021-01-19: she doesn't work. she's basically an independent contractor for the government. she really only has meetings. not sure how to rectify this.
+*/
+KAY
+(mumbled)
+No work in the morning.
+
+She wanders down a hallway to their shared OFFICE.
+
+INT. DARK OFFICE - NIGHT
+
+The regular computer-emitted fan noises and light aren't present. Her tired eyes note only this.
+
+KAY
+(mumbled)
+Slut's done streaming.
+
+She immediately heads to their bedroom.
+
+INT. DARK BEDROOM - NIGHT
+
+She pokes her head in the open doorway. She sees NATHAN, blindfolded, covered completely by blankets. He's nowhere near as catatonic as her while sleeping. She grins deviously and rubs harder.
+
+CUT TO:
+INT. CLOSET SHELF
+
+We see a closet shelf housing several of the couple's favorite tools: a leather choker-like leash and collar, a ball gag, varying lengths of soft black nylon rope. Kay takes them.
+
+[[initially intended as a tie to the wall, makes a bit more sense for the leash to be present if she ties his wrists instead]]
+When the bed is finally approached, she lies the tools down on it, puts her hand in front of Nathan's face for a couple seconds, then pulls the covers off him. Nothing but boxers shroud his feminine ass, which distracts Kay. She caresses him, shifting up and down from his thighs to above his hips. She snaps back to focus, equipping his gag, /*tying him to the clearly intentional mounted metal loop above their also clearly intentional less extravagant headboard.*/ binding his wrists and ankles. His boxers are slipped off, the leash is secured. Kay's Grinch PJs and accompanying plain boxers come off and she gets right into pleasuring herself with him. She thrusts into him, upright, with him bent over the edge of the bed. A *moan* of satisfaction and release escapes her. She chuckles erotically through her nose as she proceeds to pound him. It's clear she needed this.
+
+Nathan wakes, *moaning alongside her.* Noting this, Kay leans down, nibbling his ear.
+
+KAY
+Merry Christmas, slut.
+
+For some reason, this sets Nathan off. He struggles against his binds, attempting to shout through his gag, but Kay's steady hands keep his hips in place.
+
+KAY
+(laughing)
+Calm down, subby.
+
+We see a view of her from the bed, facing the door. Her gray T-shirt emblazened with the word 'PROVO' is the only thing that shields us from her large, bouncing breasts. Her expression is as lustful as can be expected. Nathan continues to moan and struggle in protest.
+
+KAY
+This is quite the performance,  I'm impressed.
+
+A moment passes, then a SHADOW approaches from the door. It speaks.
+
+SHADOW
+Nathan, are you being horny without me ag- WHAT THE FUCK?
+
+[[sara's eyes are dark hazel. not brown. not sure how i mandela affected myself]]
+Kay's eyes widen immensely as the light *clicks* on, but immediately turn to squinting at the brightness. The figure at the door is strikingly similar to her. Furry, big fuzzy tail, somewhat canid face, thick thighs and arms, cute PJs grudgingly concealing her bulge. But she has brown hair, hazel eyes, far more toned muscles, a Studio Ghibli mashup shirt. She's a red panda. And she's glaring at Kay with fury, who stumbles back, awkwardly pulling out to stare incredulously at the unfamiliar woman across from her.
+
+KAY
+Wha-
+
+SARA
+WHO THE FUCK ARE YOU, BITCH?
+
+[[i think the right, right, left should be a queen reference :youlooksogood:]]
+SARA lunges at Kay, tackling her into the headboard, which makes a terrible crunching sound. Sara punches Kay three times in the face. Right, right, left. Stunned, Kay grabs Sara's right as it attempts another blow. She pushes against her full mass, launching Sara into the far wall, destroying the drywall. Nathan lets out a gagged yell in protest.
+
+Kay follows up, lunging at Sara, who dodges and punches Kay in her exposed groin in one motion. She stumbles back, but not before Sara grabs her by the neck and lands another blow to her face.
+
+The next few moments are quick. Kay attempts a right hook, which is deflected by Sara, who attempts an uppercut, which is caught by Kay's free hand. Once over the surprise, they're perfectly in sync in hand to hand combat. They push each other away and simultaneously unsheath their weapons.
+
+The Acriamative flashes, and Sara's double shortswords rise to meet it. A deafening CLANG emits. Both women and the captive Nathan stare in shock and awe at the reveal.
+
+(beat)
+
+Both women yell and attempt to hit each other. It's clear neither of them are practiced swordswomen, though Sara quickly unmounts her weapons from their armbands to unlock a better range of motion. Neither can deflect the other's hits, and deep gashes open in both of them. Kay's blood is a dark pink, while Sara's is a dark aquamarine. The walls are heavily damaged by this exchange and the fight stumbles back into the TV room. Nathan hastily attempts to crawl and then awkwardly hop to follow, terrified.
+
+.FIGHT TO TV ROOM
+
+The room is only illuminated by the light streaming through destroyed bedroom wall. Kay shoves Sara to the ground and raises the Acriamative, but Sara shakily raises her weapons to attempt to deflect it.
+
+Nathan tackles Kay, his recently loosed ball gag bumping on his chest. Her wounds have weakened her, so she topples into the couch where we started. He hits her with his still-tied hands. His useless hits are in sync with his words.
+
+NATHAN
+You can't kill her! She'll just come back.
+
+He gets up and away from her quickly, shaking. He attempts to help Sara up, an awkward process with his limbs still tied. He falls over.
+
+NATHAN
+Fuckinhellshit.
+
+He unties his ankles as quick as he can, watching Kay, who gets to her feet in a daze.
+
+NATHAN
+Stay back!
+
+He succeeds in helping Sara up. She's just as weakened as Kay, who stops, swaying, attempting to keep the Acriamative aloft. She breathes heavily.
+
+KAY
+Nathan... Who the hell is this bitch?
+
+Nathan just stares, putting both his hands on Sara's shoulders. Sara shakes her shoulders and elbows him as the two women begin to circle each other.
+
+SARA
+Get out of our house or you're going to die. Nathan, fuck off.
+
+NATHAN
+No, that wasn't-
+
+KAY
+*Your* hou- I bought this house!
+
+SARA
+What? I bought it. We *live* here.
+
+Kay shakes her head and snarls.
+
+KAY
+No, this is *my* house, that's *my* boyfriend, and I'm gonna fucking kill you.
+
+SARA
+Holy shit, she's your girlfriend?
+
+Sara pushes Nathan into the corner as the two continue to circle each other.
+
+NATHAN
+NO, NO, NO!
+
+The circling causes Nathan to be behind Kay instead of Sara.
+
+KAY
+Oh, no doubt the wife is secret too. I'm gonna pound your brains out once I take care of this bitch. Clearly you need to be taught how to be loyal again.
+
+She points at Nathan. Sara yells in frustration and slashes. It's weakly deflected, and the lunge causes them to switch sides again.
+
+NATHAN
+Sara, stop, I don't know who this is.
+
+KAY
+(sarcastically)
+Oh, I wouldn't remember my high school crush either. All the dates, all the hintdropping I totally forgot. The romantic stalking and kidnapping, moving in together, the training and fighting and life risking just totally slipped my mind.
+
+SARA
+Nathan, call Delta Jay.
+
+
+[[replace IMC with whatever fictional or otherwise realistic faction I want Delta Jay to be a part of]]
+KAY
+Why would you call him, he's *my* IMC liason.
+
+SARA
+Yeah, well he works for *me.*
+
+KAY
+Oh, that's a weird coincidence because he actually works for *me*, and I'm sure he'll send you hell once he finds out how much you've wounded me.
+
+SARA
+The IMC can't stop me.
+
+KAY
+And you can't stop me. I can't die.
+
+SARA
+Neither can I, bitch.
+
+NATHAN
+Holy shit. You're Kalani, aren't you?
+
+Sara and Kay stop to look at the naked femboy.
+
+KAY
+(sarcastically)
+Took you long enough, hi, it's your *girlfriend of two years.*
+
+NATHAN
+Fuck you, we got married two years ago!
+
+He points to Sara, whose eyes flit between her lover and Kay. Kay allows the Acriamative to fall as she gestures dejectedly.
+
+KAY
+Damn it, and I was just about to propose, too. I can't fucking believe this, I fucking knew I should have dated girls instead.
+
+Sara shakes her head in disbelief.
+
+SARA
+What?
+
+Sara combines her two sword whips into one warily.
+
+KAY
+My question is, how the fuck did you hide an entire marriage from me *and* manage to convince *her* she owns our house. I thought you were a genius, but apparently you're stupid enough to think I wouldn't find out about this shit.
+
+SARA
+Bitch, this is OUR HOUSE!
+
+The women glare at each other.
+
+NATHAN
+Stop, stop stop stop stop stop. Whoever you are, you're insane, Sara I would never cheat on you. I thought you decided to surprise me by- byf- byf- bfuckin tying me up, but is was her. She was raping me in my sleep.
+
+He points at Kay, opens his still tied hands towards Sara, stimming with his fingers and shaking his head. He very much speaks with his hands.
+
+Kay and Sara both lower their weapons slightly, hiding their eyes behind their hands in shock in a mini-facepalm. Nathan notices the similar response and looks confusedly at both of them.
+
+[[This line may damage the worldbuilding. She should be shocked that someone like her exists and that should probably be on the forefront of her mind. This line almost implies that her condition is normal, which it is not by any stretch of the imagination.]]
+KAY
+You're really going to lie to leave me for a fuckin panda. You just *love* telling the truth until you can find another fuck buddy.
+
+NATHAN
+I've never seen you in my life!
+
+KAY
+I've fucked you in the ass every night since twenty twenty two, you dumb whore!
+
+SARA
+You said her name though.
+
+NATHAN
+Yeah, you sound like Kalani, but I haven't talked to her for years.
+
+SARA
+Oh, Kalani the lesbian you- wait...
+
+KAY
+I'm sure as hell a lesbian now!
+
+SARA
+Put your dick away then, so my cheating husband can stop staring at it.
+
+Nathan blushes profusely.
+
+NATHAN
+Rape, rape, rape, she *raped* me.
+
+KAY
+Nathan, you *love* getting raped.
+
+NATHAN
+Oh my fff...
+
+He's lost for words. Sara and Kay watch him for a moment, but snap back to each other, their stares are no longer as hostile.
+
+SARA
+(confusedly)
+So clearly we've both had a lot of sex with Nathan without either of us finding out he was a cheater.
+
+NATHAN
+But that's not true! I can count on one hand the amount of times Kalani and I hung out, we never so much as flirted after sophomore year!
+
+SARA
+Oh, oh, but you *said* you fantasized about her constantly until we started hooking up. Turns out they weren't fantasies.
+
+KAY
+Damn right they weren't.
+
+SARA
+Fuck this.
+
+She gets up to leave, staggering as she clutches her bloodstained shirt.  Nathan grabs her.
+
+NATHAN
+Slow down slow down, stop. Please please please just sit down and rest. Untie me, I'll get my clothes, we can grab some soda and stop you from bleeding out. Sara look at me. You have to believe me. We're going to get an explanation from her.
+
+KAY
+Wait, Sara?
+
+Nathan and Sara look at Kay, who slumps down on the couch, her weapon clanging to the ground as she grips her side.
+
+KAY
+Nathan and I know a Sara, and she doesn't look like you. Something's gone horribly wrong.
+
+NATHAN
+Sara, sara, see? Untie me, untie me.
+
+She obliges, still staring at Kay. Nathan rushes back into the destroyed bedroom. Kay pulls what's left of her shirt down to cover up her still slightly erect cock. Sara looks away and pretends like she doesn't see it.
+
+SARA
+Sara's a very common name. I only know one Kalani.
+
+KAY
+You sound exactly like her though. We both went to Jordan, but didn't properly meet until Nathan invited us both over for a movie night. I thought you were pretty hot but I thought you two were dating otherwise...
+
+NATHAN (O.S.)
+Oh, no way.
+
+SARA
+Thanks? Wait. Was there anyone else there? What movie did you watch?
+
+KAY
+I brought my best friend Ana over. Nathan had some of his friends.
+
+SARA
+We watched Alien and Aliens.
+
+KAY
+You watched Aliens?
+
+SARA
+Yeah, but you two left as we went to get ice cream.
+
+Nathan reappears fully clothed. He tosses Kay's PJs and boxers back to her.
+
+NATHAN
+I thought I recognized those pants. Cumberbatch grinch, not Carrey.
+
+Kay gets up to put her clothes back on. Her cock is still massive when flaccid. Sara turns away, but Nathan only pretends not to look.
+
+KAY
+It's ok to stare.
+
+SARA
+(growling)
+Not when it's you, it's not.
+
+Sara grabs Nathan by the arm and pushes him to turn away.
+
+NATHAN
+I'm the victim here, she raped me.
+
+SARA
+We all know you fuckin enjoyed it.
+
+NATHAN
+Yeah, when I thought it was you!
+
+KAY
+Guys, stop. We're all the victims of a misunderstanding, not rape. Nathan talks about this shit all the time.
+
+Cut to the three sitting down, fully clothed, besides the torn shirts and blood. Nathan's ballgag is replaced by a choker. Kay is on the corner of the sectional, Sara on one of the ends, Nathan on the ottoman inbetween them. The three of them sip sodas from the mini-fridge.
+
+/*
+alternate confrontation/realization
+
+NATHAN
+How come you two are the only two superhuman, humanoid lifeforms with conjurable custom weapons on this earth?
+
+(beat)
+
+KAY
+I got my powers because of you.
+
+SARA
+*/
+
+KAY
+What we're going to do is we're going to describe our relationship with the other two how we see it, I'll go first. I'm Kalani Lindsay Whitmore. I met Nathan at Jordan in freshman year, had a crush on him sophomore year. We texted and hung out a couple times during college, and I...
+
+She pauses.
+
+[[perhaps it's out of character to be as upfront as she is about this so this can be trimmed]]
+KAY
+I was very self-conscious about my weight. It was kind of... destroying my life. I pushed away my roommates and family and lived on my own, I was too depressed and anxious to go to school, I wasn't paying bills, all I was doing was exercising and eating. But I couldn't lose weight. It was like I was cursed. So I stopped eating. I starved myself, but my damn scale wouldn't move an ounce. I thought I was going crazy. One day I collapsed on the treadmill and blacked out. When I woke up, I was in another world. I was transformed, I wasn't human anymore. I had to fight monsters and survive, and all the while I knew he did it.
+
+She points at Nathan. Sara puts a hand to her mouth in realization.
+
+KAY
+I had powers. Super strength. My hyperhydrosis turned into something different. I still sweat a ton, but it wasn't gross anymore. I had healing powers. I can control things with my pheromones, I could knock things out.
+
+Sara and Nathan exchange glances several times. Nathan snaps incessantly.
+
+SARA
+I don't sweat very much at all, but I can do all those things too, it's just a lot harder.
+
+Kay nods.
+
+KAY
+Hang on. So when I finally found out how to return to this world, I started stalking him. Found his streams, twitter, everything. My entire life was all about figuring out how to live with my new form and figuring out everything about him. That and... anyway, I was obsessed, I wanted to own him. /*I began to sneak into his house in the dead of night and...*/ Well eventually it drove me insane and I wanted to be with him in person, so I devised a way to use my pheromones to trick people into thinking I looked completely human. Doesn't work on video obviously but anyone who was within a couple feet of me saw me as how I used to be. I went to his work with a mask and sunglasses to hide most of my appearance, walked right up to him and...
+
+She sighs. Nathan stims by bobbing his leg and swilling his soda around in the can. Sara similarly bobs her leg.
+
+KAY
+Eventually I snuck into his house, we had a consensual kidnapping, it was really romantic and hot, he loved it, he always loved being put in his place by me. We dated ever since. We moved in together, he told me how he thought my powers worked, we trained together, took up vigilantism, got picked up by the IMC, eventually we worked out a deal where they supported my efforts and sent me on missions while Nathan stayed at home being a boywife. I was going to surprise him with another kidnapping and proposing to him... somewhere special, I don't know. Now I'm not even sure if that was real or anything because you don't remember at all, and...
+
+Her voice breaks, she looks away. A pause.
+
+NATHAN
+So I did think you were crazy, then I thought you were a figment of my old fantasies that manifested itself physically to destroy my life and marriage, and now I think you're from an alternate universe where what happened to Sara happened to you somehow.
+
+KAY
+*There's* the shit Nathan always talks about.
+
+Sara fidgets with her ring.
+
+SARA
+I thought I was special.
+
+NATHAN
+You are, of course you are. Even in an infinite multiverse.
+
+KAY
+Ok, Sara next. I met you at a movie night he invited us to years ago, I knew Nathan always really liked you, you were friends for ages, made animations together, you're working on a TV show. He always insisted you were just friends but I knew he would fuck you in a heartbeat given the chance. Can't blame him, you're hot.
+
+Nathan groans and stims harder, shaking his head.
+
+NATHAN
+Oh, this is weird, Kalani is telling me my wife is hot and I haven't fucked her.
+
+KAY
+Well, where I come, you haven't. *Yet.*
+
+She growls the last word. Sara scowls.
+
+SARA
+How am I supposed to take this? How do I know you're not making all of this up?
+
+NATHAN
+Hang on here, let's just assume this theory is correct. Occam's razor may not whittle away the multiverse explanation, I don't have any better way of seeing this. We basically have to find out which one of us doesn't belong here.
+
+KAY
+Sara, you next. How do you know Nathan? Pretend you know neither of us and describe it as though we're new people entirely.
+
+Sara looks at the others, scowls at both and sighs.
+
+SARA
+We met at CTEC. Became really good friends. I knew him for several years. He always knew how to rile me up, but he had a way with words. Helped me through a breakup after a four-year relationship. I needed a lot of time to get over it, but all the while I was fighting feelings for him. Needed him really bad. Vented it out by going to the gym. One day I came home and...
+
+She shakes her head and sighs.
+
+SARA
+Same thing as you. Collapsed, was in another world, fought my demons, came back, fucked his subby brains out, proposed, married, became a superhero, yada yada.
+
+Nathan gets up and puts his arm around her. She tenses up, but doesn't stop him.
+
+NATHAN
+And how do you know Kalani?
+
+SARA
+(reluctantly)
+Same as you, she's the lesbian who you were obsessed with in high school and college.
+
+NATHAN
+I- no, she just-
+
+KAY
+It's true, you were obsessed. You told me your fantasies about dicks caused me to manifest one.
+
+Sara grins, slapping his thigh.
+
+NATHAN
+Oookay, glad we're on the same page here, anyway, I knew Kalani in high school, she was terrible at keeping contact and I was always second-guessing how much she wanted to talk to me, even after hanging out a couple times. She... ended up showing some red flags. And she liked girls more anyway so we drifted apart.
+
+KAY
+Okay, I think the difference is that I went to the Sanctum first and became obsessed with you, while your Kalani was never sent to the Sanctum in the first place.
+
+NATHAN
+She's not *my* Kalani.
+
+SARA
+Our *universe's* Kalani.
+
+NATHAN
+Your personality is entirely different from our universe's Kalani though.
+
+KAY
+Yeah, I've been through a lot. You stopped talking to me when I was like, twenty.
+
+NATHAN
+No, *you* stopped talking to me.
+
+KAY
+You should really hit me up sometime, like right now actually. Am I still working, did I get the hospital job, or am I in social work? Am I still single? Did I finally have gay sex or did I never find someone in Utah gay or desperate enough to be willing to scissor me?
+
+NATHAN
+Now *that* sounded a lot like you except for the gay sex part.
+
+KAY
+Oh, you'd be surprised, I miss the idea of pussy so much.
+
+NATHAN
+Getting warmer.
+
+SARA
+Okay, you can fantasize about selfcest on your own time. What I want to know is what your dick was doing in my husband.
+
+[[i feel like "was a pussy" is too aggressive and would warrant a reaction/interruption. i would probably trail off for a second and explain it less aggressively to be diplomatic]]
+NATHAN
+Well, I mean, it makes sense. Kalani was a... well she couldn't propose to me as early as you did, but we still were just as together as you and I. We've got similar sexual tastes and a similar relationship... uh, dynamic, it's no wonder that I would wake up getting railed, tied up, and gagged...
+
+This distracts the ADHD trio. Then they remember one of them is from a different universe. Sara hits Nathan.
+
+SARA
+Anyway...
+
+NATHAN
+Anyway, your cock was amazing.
+
+Sara glares at him and hits him again.
+
+NATHAN
+I mean just as good as Sara's if not- I mean I thought it was her until I recognized your voice. Well not recognized. Just knew it wasn't hers.
+
+KAY
+You really are the exact same, you sub. I just wish I could uh... I mean you're not my Nathan so whatever. I'm just happy you're happy I guess. Though if I were in a universe where you were still me and not someone else I'd totally be down for a three-way.
+
+[[i don't think they're at the hitting level, more likely she would jolt forward to try and hit her seriously]]
+Kay points at Sara, who bristles at her statement and jolts forward, causing Kay to flinch. Nathan hides his face in Sara's big furry tail.
+
+KAY
+Sorry, I can't help myself around him! Surely you feel the need to dirty talk too!
+
+SARA
+Not when his alternate dimension crush just fucked my sloppy seconds and tried to kill me.
+
+NATHAN
+Sloppy seconds?! We're married!
+
+KAY
+And I don't want to get inbetween you obviously, I thought I was fucking my boyfriend for like the seven thousandth orgasmic time.
+
+SARA
+And I thought some bitch was stealing him from me.
+
+NATHAN
+And I thought I was getting pulverized by my wife's 10-inch monster cock, we get it. None of us did anything to purposely hurt the others except you two. Clearly we were all thinking with the wrong head. Or no that was just you two and your cock measuring contest for who has the coolest weapon, by the way, it's Sara, sorry Kay, no chance, but if we're going to have a cock measuring contest I prefer one that doesn't involve two of the most powerful humans in existence bleeding out fighting over me. Actually, how big is your cock?
+
+SARA
+Nathan!
+
+Another love tap ensues. Probably a little harder. Kay grins, shifting her weight a little nervously.
+
+KAY
+Eight flaccid, ten erect, twelve on viagra or a good day.
+
+NATHAN
+(overcome)
+Oh, fuck me.
+
+SARA
+(gritting teeth)
+That's *my job.*
+
+Nathan jumps up.
+
+NATHAN
+And who am I to leave my wife unemployed? Anyhow, I say we go get some McDick's. Both of you must be starving and you've got cells to regenerate. I'll get the keys, babe.
+
+[[really needed to be said]]
+SARA
+We're not going anywhere until we find out where she's from, why she's here, and how to get rid of her. She could still be lying about all of this.
+
+KAY
+I can't lie with him in the room, he's not mine, but he's still Nathan.
+
+NATHAN
+That's- okay. Oddly familiar.
+
+He sits back down.
+
+SARA
+Stop doing that. This has to be some sort of hit operation. The IMC augmented someone to come in as an actor to either kill me or sabotage our marriage.
+
+KAY
+How would the IMC know about our trust pact thing?
+
+SARA
+He's always going off about honesty. Delta Jay must have known and snitched.
+
+KAY
+Oh! They don't know he has a rape fetish.
+
+NATHAN
+Don't put it that way.
+
+SARA
+Even if you *are* from another universe, why come here to fuck someone else's husband?
+
+KAY
+I *didn't,* I wouldn't. I like my boyfriend all to myself and I wouldn't steal someone else's, it'd kill him. I woke up here, right on the couch. Thought it was my house.
+(beat)
+
+SARA
+But how did you get there.
+
+KAY
+Maybe I dreamed too hard. Maybe this is a dream borne out of my insecurities knowing he'd be with you given the choice. All I know is I woke up horny and all three of us can't blame each other for that.
+
+Nathan makes a confused noise.
+
+SARA
+Ok, fine. If you got here by sleeping, you can leave by sleeping. Can I kill you?
+
+NATHAN
+Consent is key.
+
+KAY
+Bitch, you can try. I was winning anyway.
+
+SARA
+As if. I'll send you back right now.
+
+She resheathes only a small section of her resting weapon; a single stealth knife.
+
+NATHAN
+Let's... not be too stab-happy. Even if you can kill her and she doesn't come back, how do you know that she's returned and you haven't just killed her?
+
+KAY
+Yeah I don't wanna die, not without cumming first.
+
+SARA
+Find someone else to help you with that.
+
+NATHAN
+Help! Of course, we'll take her to the IMC ASAP after mcdeez. They'll be fascinated with her, remember the Lab, Sara?
+
+Sara squints with frustration upon remembering. Nathan gets up again.
+
+SARA
+I try not to.
+
+NATHAN
+Ok, that's a deal! This is going to be the best magdondal trip yet. I can ask you all about your universe and how it's different and how it's the same, just amazing!
+
+He prances out of the room, sipping his soda.
+
+NATHAN
+(laughing)
+Oh, merry fuckin' Christmas!
+
+Both women follow his ass with their eyes, and then they quickly snap to each other.
+
+SARA
+I'm a master of stealth. Try to fuck him again and I'll kill you. What's more is that he'll probably let you and then I'll divorce him and he'll die alone.
+
+Kay gets up, examines her bloody shirt, and sheathes the Acriamative as she talks, taking several steps away from Sara.
+
+[[Something in this conversation needs to address how she got there in the first place and therefore how to get her back. Perhaps after MCD they go to delta jay or perhaps nafan and sara already figured out something though that's less likely]]
+
+KAY
+And then when I figure out how to return to my universe you'll get lonely and ressurrect him, I get it. He's all yours. Though the offer's still on the table, he always said you were secretly bi and I'd fuck the shit out of both of you in a heartbeat.
+
+Sara's weapons disappear from the floor as she unsheaths them into her hands. Kay knows the sound well.
+
+[[her attitude is a bluff. she's secretly extremely wary of someone with her abilities being an enemy, but that's not on the forefront of her mind because she knows that them fighting again won't happen if Nathan is there.]]
+KAY
+I know I drive a hard bargain but suit yourself. I know my Nathan wouldn't mind.
+
+SARA
+(grumbling)
+That's what I'm afraid of.
+
+Kay goes upstairs. Sara quickly unsheaths her weapons and pushes past her.
+
+SARA
+This is my house. Don't act like you own it.
+
+KAY
+Force of habit, not sorry.
+
+NATHAN
+Enough of this toxic femininity, let's get in the car.
+
+Hard upwards pan to Nathan swinging Sara's lanyard.
+
+SARA
+Oh no you don't. I'm not letting you drive for at least half a year after tonight.
+
+NATHAN
+You can't just do that to me, this wasn't my fault!
+
+Sara approaches him into the great room and takes the keys from him.
+
+SARA
+(under breath)
+Well clearly you're enjoying it. Punishing you with no sex punishes me, so I'm taking away your freedoms until you get a better attitude.
+
+He ignores her lowered tone. They walk to the garage.
+
+NATHAN
+My attitude is great, I'm just a little horny.
+
+SARA
+Little horny bitch.
+
+KAY
+Can't blame anyone for being horny. We've all been there. 24/7.
+
+NATHAN
+Your honor, my client would like to plead horny on all charges.
+
+
+
+EMPLOYEE
+Uh, are you guys alright?
+
+She notes the strange colored blood all over the two humanoids. Nathan has also been stained on his hands.
+
+KAY
+Normal Tuesday night.
+
+NATHAN
+It's not even Tuesday.
+
+He had to check his phone to make sure. It's actually an early morning on a Wednesday; Christmas 2024.
+
+[[her return to her original universe is indicative of how much the experience changed her. rather than returning to do honry things to nafan in his sleep, she wakes him up, something he normally hates and thus she would never do, to ensure he knows who she is and that they're actually together. He's confused but gives her the information she needed, she sleepily says she'll tell him in the morning.]]

kay/alternateseggychristmas_004.fountain

@@ -0,0 +1,780 @@
+Title: _alternateseggychristmas_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: i have ~~paraphilias~~ issues
+
+/*
+inspired by between sleep daydream right before having to go to work 11/29/2022 ~7:30am. Wasn't entirely conscious; my brain is so used to the fake scenarios method that it attempts to re-enter sleep stages by utilizing the method even when not conscious. It's a bit spooky that my fantasies have been so far engrained into both the conscious and subconscious that this happens. I've conditioned myself through habitual fantasizing that my brain itself has rewired to have wacky habits. The honry is too strong. Anyway my fav scenario as of late has been that of getting double dicked by Sara and Kay, and Sara mommy domming the both of us. The semiconscious dream derived from the scenario was that of me being in a relationship with Sara (seemed to be in old house bedroom which really solidifies it as a dream but it having been somewhat lucidly triggered by semiconscious thought... this pseudoscience is strange...) and Kay being on the outside trying to barge her way into it and finally succeeding in creating a sort of polycule between the three of us. I don't think I could do it in real life. That's why it's just a fantasy. Bit of a guilty pleasure I think. But it goes like Kay is domming me, trying to own me, Sara then doms and reclaims me by sitting on my lap and forcing my face into her chest, then making out with Kay. She says something sarcastic/bratty back to her, Sara slaps her and forces to call her mom or something. It was a subconscious thought man don't judge me.
+
+Anyway the following is derived from me thinking about it throughout work day; what if this spiderverse scenario was accidentally and unknowingly triggered on Kay, specifically a version of Kay who had claimed me after her transformation and we lived together, but the universe she is transported, seemingly abducted to, is identical to her native universe except the only variable changed was that Sara was sent to her own Inner Sanctum rather than Kay; Sara has similar abilities, underwent a similar transformation. Perhaps the reasoning for her transformation could be different and more fitting than Kay's; Kay was sent because she was trying to lose weight while being forced not to, breaking physics and causing her to be reverted to a spiritual state, where her soul had to fight within her consciousness (represented in 3 dimensions by an Inner Sanctum) with her problems, conquering them and once that internal conflict was resolved, the Sanctum was exited and her body transformed at a time dilated pace. I think that justification makes sense but could be expanded upon in the main storyline. However, I'm having trouble trying to make it fit how this could work for Sara. I like the idea that she becomes muscle mommy rather than chubby mommy with unequivalent physical power to her appearance, but I'm thinking in order for the requirements for a Sanctum transformation to be met, there would have to be something changed about myself as well. I was the one who caused some of the requirements for the Sanctum to be met by having such a crush on Kay, but also a big thing for chubby girls, that I didn't want her to lose weight but fantasized about a world where she could be that weight but healthy and also happy with herself, forcing her to remain that weight, causing the Sanctum entrance and eventually creating that world. Perhaps Sara's would be in reverse. She wants to work out, alt-me encourages her to work out because alt-me has a muscle mommy thing > chubby mommy thing, my fantasies change to be more suited to make Sara the one who gets Sanctum'd. I would rather that be the case than the requriements for Sanctuming be changed, though in an infinite multiverse that is admittedly also a variable that could be changed.
+
+I find the fantasies thing interesting; a big part of my fantasies are literally just that my fantasy lover's powers just fix the stimuli to my OCD. I hate things being unsanitary and uncomfortable, especially in relation to sex. Her powers remove those issues. I think this explains why Sara's powers would be similar even if the reason her transformation occurred was quite different. My idealized version of any lover could consistently have the same healing and superhuman powers. I kinda love the idea of being immortal with one parter; both Kay's and Sara's powers would be able to bring someone back from even death and even restore them to a point as if nothing happened, with some exceptions. I think some scars could remain or perhaps become more defined because both Kay and I subconsciously control what the healing does and would be very thematically interesting; I like some scars, perhaps she can find them hot as well, thus they remain, almost divinely.
+
+I'm thinking Sara would have far more restraint when it comes to killing someone or inflicting pain, even though she'd have a similar or perhaps identically potent healing power. A line from Kay to her recognizing "If I discovered someone in my home fucking my husband I wouldn't be able to stop myself from killing them."
+
+This entire thing is why it's so tough just to write multiverse shit and slap in a million different versions of the same individuals into one story and call it good. There's so much depth to be explored with even just two differing universes with only a couple slightly tweaked variables. Not only is the exploration of that depth often far more interesting, but it's far more feasible because exploring that depth can clear up a lot of confusion on how the different versions are different and how they realistically ended up that way. With some multiverse content you just have to go "hm, guess that's just x character from the dimension where y variable is different" and that's just so incredibly boring... Not even to get into how F'd multiversal travel and god forbid multiversal threats can be to your previously well-grounded, well-written story. Perhaps the way it works in my multiverse is that eventually, everyone spends at least one day pulled into an alternate universe and has to figure out how to reverse it or something. Could be interesting. So at least once, either someone from the origin-verse or whatever is pulled out, like in this story, or someone from another universe visits the origin-verse. Could be interesting.
+
+Anyhow, I was struggling to figure out how spacial continuity would work between these dimensions; a home being lived in by me and Kay would likely be completely different from a home being lived in by me and Sara, even if it were the same building and everything. I don't exactly know why, but this lead me to think that this event occurs on Christmas; Kay and I have had a long, eventful day with much food eaten, and she takes a nap on the couch while I head in to game/stream. She unknowingly is transported during this nap.
+*/
+
+INT. DARK TV ROOM - NIGHT
+
+Kay lies asleep, catatonic. She lies on her right side on the couch. Her boner is distincly visible via the bulge in her Illumination-Grinch pajamas. It flops down to the side with gravity and twitches with her. It rests on her meaty thighs, and there she lies; the embodiment of a closet furry bisexual chubby chaser's wet dream.
+
+[[I want her to have a seggy pet name for me. i guess I'll go with subby for now? I could probably think of something better but idk.]]
+Her *moans* get too loud for her to remain asleep and she wakes. The moan that wakes her forms a word:
+
+KAY
+(softly)
+Subby-
+
+She sits up. We follow her, our view as disorienting as her mood. She sits up, shaking her head and massaging her penis. She bites her lip and blearily wanders through the dark house, hand still stimulating herself. She briefly checks her apple watch. '4:30 AM'.
+
+/*
+she says this to convince herself it's ok to
+
+edit 2021-01-19: she doesn't work. she's basically an independent contractor for the government. she really only has meetings. not sure how to rectify this.
+*/
+KAY
+(mumbled)
+No work in the morning.
+
+She wanders down a hallway to their shared OFFICE.
+
+INT. DARK OFFICE - NIGHT
+
+The regular computer-emitted fan noises and light aren't present. Her tired eyes note only this.
+
+KAY
+(mumbled)
+Slut's done streaming.
+
+She immediately heads to their bedroom.
+
+INT. DARK BEDROOM - NIGHT
+
+She pokes her head in the open doorway. She sees NATHAN, blindfolded, covered completely by blankets. He's nowhere near as catatonic as her while sleeping. She grins deviously and rubs harder.
+
+CUT TO:
+INT. CLOSET SHELF
+
+We see a closet shelf housing several of the couple's favorite tools: a leather choker-like leash and collar, a ball gag, varying lengths of soft black nylon rope. Kay takes them.
+
+[[initially intended as a tie to the wall, makes a bit more sense for the leash to be present if she ties his wrists instead]]
+When the bed is finally approached, she lies the tools down on it, puts her hand in front of Nathan's face for a couple seconds, then pulls the covers off him. Nothing but boxers shroud his feminine ass, which distracts Kay. She caresses him, shifting up and down from his thighs to above his hips. She snaps back to focus, equipping his gag, /*tying him to the clearly intentional mounted metal loop above their also clearly intentional less extravagant headboard.*/ binding his wrists and ankles. His boxers are slipped off, the leash is secured. Kay's Grinch PJs and accompanying plain boxers come off and she gets right into pleasuring herself with him. She thrusts into him, upright, with him bent over the edge of the bed. A *moan* of satisfaction and release escapes her. She chuckles erotically through her nose as she proceeds to pound him. It's clear she needed this.
+
+Nathan wakes, *moaning alongside her.* Noting this, Kay leans down, nibbling his ear.
+
+KAY
+Merry Christmas, slut.
+
+For some reason, this sets Nathan off. He struggles against his binds, attempting to shout through his gag, but Kay's steady hands keep his hips in place.
+
+KAY
+(laughing)
+Calm down, subby.
+
+We see a view of her from the bed, facing the door. Her gray T-shirt emblazened with the word 'PROVO' is the only thing that shields us from her large, bouncing breasts. Her expression is as lustful as can be expected. Nathan continues to moan and struggle in protest.
+
+KAY
+This is quite the performance,  I'm impressed.
+
+A moment passes, then a SHADOW approaches from the door. It speaks.
+
+SHADOW
+Nathan, are you being horny without me ag- WHAT THE FUCK?
+
+[[sara's eyes are dark hazel. not brown. not sure how i mandela affected myself]]
+Kay's eyes widen immensely as the light *clicks* on, but immediately turn to squinting at the brightness. The figure at the door is strikingly similar to her. Furry, big fuzzy tail, somewhat canid face, thick thighs and arms, cute PJs grudgingly concealing her bulge. But she has brown hair, hazel eyes, far more toned muscles, a Studio Ghibli mashup shirt. She's a red panda. And she's glaring at Kay with fury, who stumbles back, awkwardly pulling out to stare incredulously at the unfamiliar woman across from her.
+
+KAY
+Wha-
+
+SARA
+WHO THE FUCK ARE YOU, BITCH?
+
+[[i think the right, right, left should be a queen reference :youlooksogood:]]
+SARA lunges at Kay, tackling her into the headboard, which makes a terrible crunching sound. Sara punches Kay three times in the face. Right, right, left. Stunned, Kay grabs Sara's right as it attempts another blow. She pushes against her full mass, launching Sara into the far wall, destroying the drywall. Nathan lets out a gagged yell in protest.
+
+Kay follows up, lunging at Sara, who dodges and punches Kay in her exposed groin in one motion. She stumbles back, but not before Sara grabs her by the neck and lands another blow to her face.
+
+The next few moments are quick. Kay attempts a right hook, which is deflected by Sara, who attempts an uppercut, which is caught by Kay's free hand. Once over the surprise, they're perfectly in sync in hand to hand combat. They push each other away and simultaneously unsheath their weapons.
+
+The Acriamative flashes, and Sara's double shortswords rise to meet it. A deafening CLANG emits. Both women and the captive Nathan stare in shock and awe at the reveal.
+
+(beat)
+
+Both women yell and attempt to hit each other. It's clear neither of them are practiced swordswomen, though Sara quickly unmounts her weapons from their armbands to unlock a better range of motion. Neither can deflect the other's hits, and deep gashes open in both of them. Kay's blood is a dark pink, while Sara's is a dark aquamarine. The walls are heavily damaged by this exchange and the fight stumbles back into the TV room. Nathan hastily attempts to crawl and then awkwardly hop to follow, terrified.
+
+.FIGHT TO TV ROOM
+
+The room is only illuminated by the light streaming through destroyed bedroom wall. Kay shoves Sara to the ground and raises the Acriamative, but Sara shakily raises her weapons to attempt to deflect it.
+
+Nathan tackles Kay, his recently loosed ball gag bumping on his chest. Her wounds have weakened her, so she topples into the couch where we started. He hits her with his still-tied hands. His useless hits are in sync with his words.
+
+NATHAN
+You can't kill her! She'll just come back.
+
+He gets up and away from her quickly, shaking. He attempts to help Sara up, an awkward process with his limbs still tied. He falls over.
+
+NATHAN
+Fuckinhellshit.
+
+He unties his ankles as quick as he can, watching Kay, who gets to her feet in a daze.
+
+NATHAN
+Stay back!
+
+He succeeds in helping Sara up. She's just as weakened as Kay, who stops, swaying, attempting to keep the Acriamative aloft. She breathes heavily.
+
+KAY
+Nathan... Who the hell is this bitch?
+
+Nathan just stares, putting both his hands on Sara's shoulders. Sara shakes her shoulders and elbows him as the two women begin to circle each other.
+
+SARA
+Get out of our house or you're going to die. Nathan, fuck off.
+
+NATHAN
+No, that wasn't-
+
+KAY
+*Your* hou- I bought this house!
+
+SARA
+What? I bought it. We *live* here.
+
+Kay shakes her head and snarls.
+
+KAY
+No, this is *my* house, that's *my* boyfriend, and I'm gonna fucking kill you.
+
+SARA
+Holy shit, she's your girlfriend?
+
+Sara pushes Nathan into the corner as the two continue to circle each other.
+
+NATHAN
+NO, NO, NO!
+
+The circling causes Nathan to be behind Kay instead of Sara.
+
+KAY
+Oh, no doubt the wife is secret too. I'm gonna pound your brains out once I take care of this bitch. Clearly you need to be taught how to be loyal again.
+
+She points at Nathan. Sara yells in frustration and slashes. It's weakly deflected, and the lunge causes them to switch sides again.
+
+NATHAN
+Sara, stop, I don't know who this is.
+
+KAY
+(sarcastically)
+Oh, I wouldn't remember my high school crush either. All the dates, all the hintdropping I totally forgot. The romantic stalking and kidnapping, moving in together, the training and fighting and life risking just totally slipped my mind.
+
+SARA
+Nathan, call Delta Jay.
+
+
+[[replace IMC with whatever fictional or otherwise realistic faction I want Delta Jay to be a part of]]
+KAY
+Why would you call him, he's *my* IMC liason.
+
+SARA
+Yeah, well he works for *me.*
+
+KAY
+Oh, that's a weird coincidence because he actually works for *me*, and I'm sure he'll send you hell once he finds out how much you've wounded me.
+
+SARA
+The IMC can't stop me.
+
+KAY
+And you can't stop me. I can't die.
+
+SARA
+Neither can I, bitch.
+
+NATHAN
+Holy shit. You're Kalani, aren't you?
+
+Sara and Kay stop to look at the naked femboy.
+
+KAY
+(sarcastically)
+Took you long enough, hi, it's your *girlfriend of two years.*
+
+NATHAN
+Fuck you, we got married two years ago!
+
+He points to Sara, whose eyes flit between her lover and Kay. Kay allows the Acriamative to fall as she gestures dejectedly.
+
+KAY
+Damn it, and I was just about to propose, too. I can't fucking believe this, I fucking knew I should have dated girls instead.
+
+Sara shakes her head in disbelief.
+
+SARA
+What?
+
+Sara combines her two sword whips into one warily.
+
+KAY
+My question is, how the fuck did you hide an entire marriage from me *and* manage to convince *her* she owns our house. I thought you were a genius, but apparently you're stupid enough to think I wouldn't find out about this shit.
+
+SARA
+Bitch, this is OUR HOUSE!
+
+The women glare at each other.
+
+NATHAN
+Stop, stop stop stop stop stop. Whoever you are, you're insane, Sara I would never cheat on you. I thought you decided to surprise me by- byf- byf- bfuckin tying me up, but is was her. She was raping me in my sleep.
+
+He points at Kay, opens his still tied hands towards Sara, stimming with his fingers and shaking his head. He very much speaks with his hands.
+
+Kay and Sara both lower their weapons slightly, hiding their eyes behind their hands in shock in a mini-facepalm. Nathan notices the similar response and looks confusedly at both of them.
+
+[[This line may damage the worldbuilding. She should be shocked that someone like her exists and that should probably be on the forefront of her mind. This line almost implies that her condition is normal, which it is not by any stretch of the imagination.]]
+KAY
+You're really going to lie to leave me for a fuckin panda. You just *love* telling the truth until you can find another fuck buddy.
+
+NATHAN
+I've never seen you in my life!
+
+KAY
+I've fucked you in the ass every night since twenty twenty two, you dumb whore!
+
+SARA
+You said her name though.
+
+NATHAN
+Yeah, you sound like Kalani, but I haven't talked to her for years.
+
+SARA
+Oh, Kalani the lesbian you- wait...
+
+KAY
+I'm sure as hell a lesbian now!
+
+SARA
+Put your dick away then, so my cheating husband can stop staring at it.
+
+Nathan blushes profusely.
+
+NATHAN
+Rape, rape, rape, she *raped* me.
+
+KAY
+Nathan, you *love* getting raped.
+
+NATHAN
+Oh my fff...
+
+He's lost for words. Sara and Kay watch him for a moment, but snap back to each other, their stares are no longer as hostile.
+
+SARA
+(confusedly)
+So clearly we've both had a lot of sex with Nathan without either of us finding out he was a cheater.
+
+NATHAN
+But that's not true! I can count on one hand the amount of times Kalani and I hung out, we never so much as flirted after sophomore year!
+
+SARA
+Oh, oh, but you *said* you fantasized about her constantly until we started hooking up. Turns out they weren't fantasies.
+
+KAY
+Damn right they weren't.
+
+SARA
+Fuck this.
+
+She gets up to leave, staggering as she clutches her bloodstained shirt.  Nathan grabs her.
+
+NATHAN
+Slow down slow down, stop. Please please please just sit down and rest. Untie me, I'll get my clothes, we can grab some soda and stop you from bleeding out. Sara look at me. You have to believe me. We're going to get an explanation from her.
+
+KAY
+Wait, Sara?
+
+Nathan and Sara look at Kay, who slumps down on the couch, her weapon clanging to the ground as she grips her side.
+
+KAY
+Nathan and I know a Sara, and she doesn't look like you. Something's gone horribly wrong.
+
+NATHAN
+Sara, sara, see? Untie me, untie me.
+
+She obliges, still staring at Kay. Nathan rushes back into the destroyed bedroom. Kay pulls what's left of her shirt down to cover up her still slightly erect cock. Sara looks away and pretends like she doesn't see it.
+
+SARA
+Sara's a very common name. I only know one Kalani.
+
+KAY
+You sound exactly like her though. We both went to Jordan, but didn't properly meet until Nathan invited us both over for a movie night. I thought you were pretty hot but I thought you two were dating otherwise...
+
+NATHAN (O.S.)
+Oh, no way.
+
+SARA
+Thanks? Wait. Was there anyone else there? What movie did you watch?
+
+KAY
+I brought my best friend Ana over. Nathan had some of his friends.
+
+SARA
+We watched Alien and Aliens.
+
+KAY
+You watched Aliens?
+
+SARA
+Yeah, but you two left as we went to get ice cream.
+
+Nathan reappears fully clothed. He tosses Kay's PJs and boxers back to her.
+
+NATHAN
+I thought I recognized those pants. Cumberbatch grinch, not Carrey.
+
+Kay gets up to put her clothes back on. Her cock is still massive when flaccid. Sara turns away, but Nathan only pretends not to look.
+
+KAY
+It's ok to stare.
+
+SARA
+(growling)
+Not when it's you, it's not.
+
+Sara grabs Nathan by the arm and pushes him to turn away.
+
+NATHAN
+I'm the victim here, she raped me.
+
+SARA
+We all know you fuckin enjoyed it.
+
+NATHAN
+Yeah, when I thought it was you!
+
+KAY
+Guys, stop. We're all the victims of a misunderstanding, not rape. Nathan talks about this shit all the time.
+
+Cut to the three sitting down, fully clothed, besides the torn shirts and blood. Nathan's ballgag is replaced by a choker. Kay is on the corner of the sectional, Sara on one of the ends, Nathan on the ottoman inbetween them. The three of them sip sodas from the mini-fridge.
+
+/*
+alternate confrontation/realization
+
+NATHAN
+How come you two are the only two superhuman, humanoid lifeforms with conjurable custom weapons on this earth?
+
+(beat)
+
+KAY
+I got my powers because of you.
+
+SARA
+*/
+
+KAY
+What we're going to do is we're going to describe our relationship with the other two how we see it, I'll go first. I'm Kalani Lindsay Whitmore. I met Nathan at Jordan in freshman year, had a crush on him sophomore year. We texted and hung out a couple times during college, and I...
+
+She pauses.
+
+[[perhaps it's out of character to be as upfront as she is about this so this can be trimmed]]
+KAY
+I was very self-conscious about my weight. It was kind of... destroying my life. I pushed away my roommates and family and lived on my own, I was too depressed and anxious to go to school, I wasn't paying bills, all I was doing was exercising and eating. But I couldn't lose weight. It was like I was cursed. So I stopped eating. I starved myself, but my damn scale wouldn't move an ounce. I thought I was going crazy. One day I collapsed on the treadmill and blacked out. When I woke up, I was in another world. I was transformed, I wasn't human anymore. I had to fight monsters and survive, and all the while I knew he did it.
+
+She points at Nathan. Sara puts a hand to her mouth in realization.
+
+KAY
+I had powers. Super strength. My hyperhydrosis turned into something different. I still sweat a ton, but it wasn't gross anymore. I had healing powers. I can control things with my pheromones, I could knock things out.
+
+Sara and Nathan exchange glances several times. Nathan snaps incessantly.
+
+SARA
+I don't sweat very much at all, but I can do all those things too, it's just a lot harder.
+
+Kay nods.
+
+KAY
+Hang on. So when I finally found out how to return to this world, I started stalking him. Found his streams, twitter, everything. My entire life was all about figuring out how to live with my new form and figuring out everything about him. That and... anyway, I was obsessed, I wanted to own him. /*I began to sneak into his house in the dead of night and...*/ Well eventually it drove me insane and I wanted to be with him in person, so I devised a way to use my pheromones to trick people into thinking I looked completely human. Doesn't work on video obviously but anyone who was within a couple feet of me saw me as how I used to be. I went to his work with a mask and sunglasses to hide most of my appearance, walked right up to him and...
+
+She sighs. Nathan stims by bobbing his leg and swilling his soda around in the can. Sara similarly bobs her leg.
+
+KAY
+Eventually I snuck into his house, we had a consensual kidnapping, it was really romantic and hot, he loved it, he always loved being put in his place by me. We dated ever since. We moved in together, he told me how he thought my powers worked, we trained together, took up vigilantism, got picked up by the IMC, eventually we worked out a deal where they supported my efforts and sent me on missions while Nathan stayed at home being a boywife. I was going to surprise him with another kidnapping and proposing to him... somewhere special, I don't know. Now I'm not even sure if that was real or anything because you don't remember at all, and...
+
+Her voice breaks, she looks away. A pause.
+
+NATHAN
+So I did think you were crazy, then I thought you were a figment of my old fantasies that manifested itself physically to destroy my life and marriage, and now I think you're from an alternate universe where what happened to Sara happened to you somehow.
+
+KAY
+*There's* the shit Nathan always talks about.
+
+Sara fidgets with her ring.
+
+SARA
+I thought I was special.
+
+NATHAN
+You are, of course you are. Even in an infinite multiverse.
+
+KAY
+Ok, Sara next. I met you at a movie night he invited us to years ago, I knew Nathan always really liked you, you were friends for ages, made animations together, you're working on a TV show. He always insisted you were just friends but I knew he would fuck you in a heartbeat given the chance. Can't blame him, you're hot.
+
+Nathan groans and stims harder, shaking his head.
+
+NATHAN
+Oh, this is weird, Kalani is telling me my wife is hot and I haven't fucked her.
+
+KAY
+Well, where I come, you haven't. *Yet.*
+
+She growls the last word. Sara scowls.
+
+SARA
+How am I supposed to take this? How do I know you're not making all of this up?
+
+NATHAN
+Hang on here, let's just assume this theory is correct. Occam's razor may not whittle away the multiverse explanation, I don't have any better way of seeing this. We basically have to find out which one of us doesn't belong here.
+
+KAY
+Sara, you next. How do you know Nathan? Pretend you know neither of us and describe it as though we're new people entirely.
+
+Sara looks at the others, scowls at both and sighs.
+
+SARA
+We met at CTEC. Became really good friends. I knew him for several years. He always knew how to rile me up, but he had a way with words. Helped me through a breakup after a four-year relationship. I needed a lot of time to get over it, but all the while I was fighting feelings for him. Needed him really bad. Vented it out by going to the gym. One day I came home and...
+
+She shakes her head and sighs.
+
+SARA
+Same thing as you. Collapsed, was in another world, fought my demons, came back, fucked his subby brains out, proposed, married, became a superhero, yada yada.
+
+Nathan gets up and puts his arm around her. She tenses up, but doesn't stop him.
+
+NATHAN
+And how do you know Kalani?
+
+SARA
+(reluctantly)
+Same as you, she's the lesbian who you were obsessed with in high school and college.
+
+NATHAN
+I- no, she just-
+
+KAY
+It's true, you were obsessed. You told me your fantasies about dicks caused me to manifest one.
+
+Sara grins, slapping his thigh.
+
+NATHAN
+Oookay, glad we're on the same page here, anyway, I knew Kalani in high school, she was terrible at keeping contact and I was always second-guessing how much she wanted to talk to me, even after hanging out a couple times. She... ended up showing some red flags. And she liked girls more anyway so we drifted apart.
+
+KAY
+Okay, I think the difference is that I went to the Sanctum first and became obsessed with you, while your Kalani was never sent to the Sanctum in the first place.
+
+NATHAN
+She's not *my* Kalani.
+
+SARA
+Our *universe's* Kalani.
+
+NATHAN
+Your personality is entirely different from our universe's Kalani though.
+
+KAY
+Yeah, I've been through a lot. You stopped talking to me when I was like, twenty.
+
+NATHAN
+No, *you* stopped talking to me.
+
+KAY
+You should really hit me up sometime, like right now actually. Am I still working, did I get the hospital job, or am I in social work? Am I still single? Did I finally have gay sex or did I never find someone in Utah gay or desperate enough to be willing to scissor me?
+
+NATHAN
+Now *that* sounded a lot like you except for the gay sex part.
+
+KAY
+Oh, you'd be surprised, I miss the idea of pussy so much.
+
+NATHAN
+Getting warmer.
+
+SARA
+Okay, you can fantasize about selfcest on your own time. What I want to know is what your dick was doing in my husband.
+
+[[i feel like "was a pussy" is too aggressive and would warrant a reaction/interruption. i would probably trail off for a second and explain it less aggressively to be diplomatic]]
+NATHAN
+Well, I mean, it makes sense. Kalani was a... well she couldn't propose to me as early as you did, but we still were just as together as you and I. We've got similar sexual tastes and a similar relationship... uh, dynamic, it's no wonder that I would wake up getting railed, tied up, and gagged...
+
+This distracts the ADHD trio. Then they remember one of them is from a different universe. Sara hits Nathan.
+
+SARA
+Anyway...
+
+NATHAN
+Anyway, your cock was amazing.
+
+Sara glares at him and hits him again.
+
+NATHAN
+I mean just as good as Sara's if not- I mean I thought it was her until I recognized your voice. Well not recognized. Just knew it wasn't hers.
+
+KAY
+You really are the exact same, you sub. I just wish I could uh... I mean you're not my Nathan so whatever. I'm just happy you're happy I guess. Though if I were in a universe where you were still me and not someone else I'd totally be down for a three-way.
+
+[[i don't think they're at the hitting level, more likely she would jolt forward to try and hit her seriously]]
+Kay points at Sara, who bristles at her statement and jolts forward, causing Kay to flinch. Nathan hides his face in Sara's big furry tail.
+
+KAY
+Sorry, I can't help myself around him! Surely you feel the need to dirty talk too!
+
+SARA
+Not when his alternate dimension crush just fucked my sloppy seconds and tried to kill me.
+
+NATHAN
+Sloppy seconds?! We're married!
+
+KAY
+And I don't want to get inbetween you obviously, I thought I was fucking my boyfriend for like the seven thousandth orgasmic time.
+
+SARA
+And I thought some bitch was stealing him from me.
+
+NATHAN
+And I thought I was getting pulverized by my wife's 10-inch monster cock, we get it. None of us did anything to purposely hurt the others except you two. Clearly we were all thinking with the wrong head. Or no that was just you two and your cock measuring contest for who has the coolest weapon, by the way, it's Sara, sorry Kay, no chance, but if we're going to have a cock measuring contest I prefer one that doesn't involve two of the most powerful humans in existence bleeding out fighting over me. Actually, how big is your cock?
+
+SARA
+Nathan!
+
+Another love tap ensues. Probably a little harder. Kay grins, shifting her weight a little nervously.
+
+KAY
+Eight flaccid, ten erect, twelve on viagra or a good day.
+
+NATHAN
+(overcome)
+Oh, fuck me.
+
+SARA
+(gritting teeth)
+That's *my job.*
+
+Nathan jumps up.
+
+NATHAN
+And who am I to leave my wife unemployed? Anyhow, I say we go get some McDick's. Both of you must be starving and you've got cells to regenerate. I'll get the keys, babe.
+
+[[really needed to be said]]
+SARA
+We're not going anywhere until we find out where she's from, why she's here, and how to get rid of her. She could still be lying about all of this.
+
+KAY
+I can't lie with him in the room, he's not mine, but he's still Nathan.
+
+NATHAN
+That's- okay. Oddly familiar.
+
+He sits back down.
+
+SARA
+Stop doing that. This has to be some sort of hit operation. The IMC augmented someone to come in as an actor to either kill me or sabotage our marriage.
+
+KAY
+How would the IMC know about our trust pact thing?
+
+SARA
+He's always going off about honesty. Delta Jay must have known and snitched.
+
+KAY
+Oh! They don't know he has a rape fetish.
+
+NATHAN
+Don't put it that way.
+
+SARA
+Even if you *are* from another universe, why come here to fuck someone else's husband?
+
+KAY
+I *didn't,* I wouldn't. I like my boyfriend all to myself and I wouldn't steal someone else's, it'd kill him. I woke up here, right on the couch. Thought it was my house.
+(beat)
+
+SARA
+But how did you get there.
+
+KAY
+Maybe I dreamed too hard. Maybe this is a dream borne out of my insecurities knowing he'd be with you given the choice. All I know is I woke up horny and all three of us can't blame each other for that.
+
+Nathan makes a confused noise.
+
+SARA
+Ok, fine. If you got here by sleeping, you can leave by sleeping. Can I kill you?
+
+NATHAN
+Consent is key.
+
+KAY
+Bitch, you can try. I was winning anyway.
+
+SARA
+As if. I'll send you back right now.
+
+She resheathes only a small section of her resting weapon; a single stealth knife.
+
+NATHAN
+Let's... not be too stab-happy. Even if you can kill her and she doesn't come back, how do you know that she's returned and you haven't just killed her?
+
+KAY
+Yeah I don't wanna die, not without cumming first.
+
+SARA
+Find someone else to help you with that.
+
+NATHAN
+Help! Of course, we'll take her to the IMC ASAP after mcdeez. They'll be fascinated with her, remember the Lab, Sara?
+
+Sara squints with frustration upon remembering. Nathan gets up again.
+
+SARA
+I try not to.
+
+NATHAN
+Ok, that's a deal! This is going to be the best magdondal trip yet. I can ask you all about your universe and how it's different and how it's the same, just amazing!
+
+He prances out of the room, sipping his soda.
+
+NATHAN
+(laughing)
+Oh, merry fuckin' Christmas!
+
+Both women follow his ass with their eyes, and then they quickly snap to each other.
+
+SARA
+I'm a master of stealth. Try to fuck him again and I'll kill you. What's more is that he'll probably let you and then I'll divorce him and he'll die alone.
+
+Kay gets up, examines her bloody shirt, and sheathes the Acriamative as she talks, taking several steps away from Sara.
+
+[[Something in this conversation needs to address how she got there in the first place and therefore how to get her back. Perhaps after MCD they go to delta jay or perhaps nafan and sara already figured out something though that's less likely]]
+
+KAY
+And then when I figure out how to return to my universe you'll get lonely and ressurrect him, I get it. He's all yours. Though the offer's still on the table, he always said you were secretly bi and I'd fuck the shit out of both of you in a heartbeat.
+
+Sara's weapons disappear from the floor as she unsheaths them into her hands. Kay knows the sound well.
+
+[[her attitude is a bluff. she's secretly extremely wary of someone with her abilities being an enemy, but that's not on the forefront of her mind because she knows that them fighting again won't happen if Nathan is there.]]
+KAY
+I know I drive a hard bargain but suit yourself. I know my Nathan wouldn't mind.
+
+SARA
+(grumbling)
+That's what I'm afraid of.
+
+Kay starts to head upstairs. Sara quickly unsheaths her weapons and pushes past her.
+
+SARA
+This is my house. Don't act like you own it.
+
+KAY
+Force of habit, not sorry.
+
+NATHAN
+Enough of this toxic femininity, let's get in the car.
+
+Hard upwards pan to Nathan swinging Sara's lanyard above the stairs from his position at the handrail. He heads off in the direction of the garage.
+
+SARA
+Oh no you don't. I'm not letting you drive for at least half a year after tonight.
+
+NATHAN
+You can't just do that to me, this wasn't my fault!
+
+Sara approaches him into the great room and takes the keys from him.
+
+SARA
+(under breath)
+Well clearly you're enjoying it. Punishing you with no sex punishes me, so I'm taking away your freedoms until you get a better attitude.
+
+He ignores her lowered tone. They walk to the garage.
+
+NATHAN
+My attitude is great, I'm just a little horny.
+
+SARA
+Little horny bitch.
+
+KAY
+Can't blame anyone for being horny. We've all been there. 24/7.
+
+NATHAN
+Your honor, my client would like to plead horny on all charges.
+
+SARA
+Guilty. Sentenced to 6 months no driving privileges.
+
+She opens the garage door and they step out.
+
+NATHAN
+No fair. I move for a mistrial!
+
+KAY
+Can I be on the jury?
+
+[[SARA
+You can be on the next train to your own dimension.
+
+Kay notices their car. 2020 Toyota Highlander.
+
+KAY
+Shit, my Nathan and I have a White 2022 Toyota Camry. I guess I would have had a lot of questions if I had come in here before...
+
+NATHAN
+I expect there will be a billion and a half differences to point out between here and your home universe!
+
+He answers passionately but is visibly displeased at having to ride shotgun. They sit down, Kay in pursuit. As Kay walks towards the back, Sara notes Nathan's expression but keeps her eyes on Kay.
+
+SARA
+(quietly)
+Don't be so mad about it, you ride shotgun most the time anyway.
+
+He once again ignores her quieted tone.
+
+NATHAN
+Well now I'm thinking about the fact it *could* have been a possibility and I'm being punished for something I didn't do.
+
+Kay gets in the back and scoots into the middle. She's looking relatively pleased with herself, watching the couple.
+
+KAY
+Come to think of it there's probably tons of details within the house I didn't notice due to my grogginess. Y'all probably have tons of things we don't.
+
+NATHAN
+Do y'all have McDonald's?
+
+KAY
+Of course, why would that be any different?
+
+NATHAN
+What part of infinite don't you understand? Just because you happen to know two people in this entire alternate world doesn't mean everything else would be the exact same.
+
+KAY
+Alright, what is different then?
+
+Sara starts the car grumpily.
+
+==
+
+EMPLOYEE
+Uh, are you guys alright?
+
+She notes the strange colored blood all over the two humanoids. Nathan has also been stained on his hands.
+
+KAY
+Normal Tuesday night.
+
+NATHAN
+It's not even Tuesday.
+
+He had to check his phone to make sure. It's actually an early morning on a Wednesday; Christmas 2024.
+
+==
+
+[[her return to her original universe is indicative of how much the experience changed her. rather than returning to do honry things to nafan in his sleep, she wakes him up, something he normally hates and thus she would never do, to ensure he knows who she is and that they're actually together. He's confused but gives her the information she needed, she sleepily says she'll tell him in the morning.]]

kay/alternateseggychristmas_005.fountain

@@ -0,0 +1,915 @@
+Title: _alternateseggychristmas_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: i have ~~paraphilias~~ issues
+
+/*
+inspired by between sleep daydream right before having to go to work 11/29/2022 ~7:30am. Wasn't entirely conscious; my brain is so used to the fake scenarios method that it attempts to re-enter sleep stages by utilizing the method even when not conscious. It's a bit spooky that my fantasies have been so far engrained into both the conscious and subconscious that this happens. I've conditioned myself through habitual fantasizing that my brain itself has rewired to have wacky habits. The honry is too strong. Anyway my fav scenario as of late has been that of getting double dicked by Sara and Kay, and Sara mommy domming the both of us. The semiconscious dream derived from the scenario was that of me being in a relationship with Sara (seemed to be in old house bedroom which really solidifies it as a dream but it having been somewhat lucidly triggered by semiconscious thought... this pseudoscience is strange...) and Kay being on the outside trying to barge her way into it and finally succeeding in creating a sort of polycule between the three of us. I don't think I could do it in real life. That's why it's just a fantasy. Bit of a guilty pleasure I think. But it goes like Kay is domming me, trying to own me, Sara then doms and reclaims me by sitting on my lap and forcing my face into her chest, then making out with Kay. She says something sarcastic/bratty back to her, Sara slaps her and forces to call her mom or something. It was a subconscious thought man don't judge me.
+
+Anyway the following is derived from me thinking about it throughout work day; what if this spiderverse scenario was accidentally and unknowingly triggered on Kay, specifically a version of Kay who had claimed me after her transformation and we lived together, but the universe she is transported, seemingly abducted to, is identical to her native universe except the only variable changed was that Sara was sent to her own Inner Sanctum rather than Kay; Sara has similar abilities, underwent a similar transformation. Perhaps the reasoning for her transformation could be different and more fitting than Kay's; Kay was sent because she was trying to lose weight while being forced not to, breaking physics and causing her to be reverted to a spiritual state, where her soul had to fight within her consciousness (represented in 3 dimensions by an Inner Sanctum) with her problems, conquering them and once that internal conflict was resolved, the Sanctum was exited and her body transformed at a time dilated pace. I think that justification makes sense but could be expanded upon in the main storyline. However, I'm having trouble trying to make it fit how this could work for Sara. I like the idea that she becomes muscle mommy rather than chubby mommy with unequivalent physical power to her appearance, but I'm thinking in order for the requirements for a Sanctum transformation to be met, there would have to be something changed about myself as well. I was the one who caused some of the requirements for the Sanctum to be met by having such a crush on Kay, but also a big thing for chubby girls, that I didn't want her to lose weight but fantasized about a world where she could be that weight but healthy and also happy with herself, forcing her to remain that weight, causing the Sanctum entrance and eventually creating that world. Perhaps Sara's would be in reverse. She wants to work out, alt-me encourages her to work out because alt-me has a muscle mommy thing > chubby mommy thing, my fantasies change to be more suited to make Sara the one who gets Sanctum'd. I would rather that be the case than the requriements for Sanctuming be changed, though in an infinite multiverse that is admittedly also a variable that could be changed.
+
+I find the fantasies thing interesting; a big part of my fantasies are literally just that my fantasy lover's powers just fix the stimuli to my OCD. I hate things being unsanitary and uncomfortable, especially in relation to sex. Her powers remove those issues. I think this explains why Sara's powers would be similar even if the reason her transformation occurred was quite different. My idealized version of any lover could consistently have the same healing and superhuman powers. I kinda love the idea of being immortal with one parter; both Kay's and Sara's powers would be able to bring someone back from even death and even restore them to a point as if nothing happened, with some exceptions. I think some scars could remain or perhaps become more defined because both Kay and I subconsciously control what the healing does and would be very thematically interesting; I like some scars, perhaps she can find them hot as well, thus they remain, almost divinely.
+
+I'm thinking Sara would have far more restraint when it comes to killing someone or inflicting pain, even though she'd have a similar or perhaps identically potent healing power. A line from Kay to her recognizing "If I discovered someone in my home fucking my husband I wouldn't be able to stop myself from killing them."
+
+This entire thing is why it's so tough just to write multiverse shit and slap in a million different versions of the same individuals into one story and call it good. There's so much depth to be explored with even just two differing universes with only a couple slightly tweaked variables. Not only is the exploration of that depth often far more interesting, but it's far more feasible because exploring that depth can clear up a lot of confusion on how the different versions are different and how they realistically ended up that way. With some multiverse content you just have to go "hm, guess that's just x character from the dimension where y variable is different" and that's just so incredibly boring... Not even to get into how F'd multiversal travel and god forbid multiversal threats can be to your previously well-grounded, well-written story. Perhaps the way it works in my multiverse is that eventually, everyone spends at least one day pulled into an alternate universe and has to figure out how to reverse it or something. Could be interesting. So at least once, either someone from the origin-verse or whatever is pulled out, like in this story, or someone from another universe visits the origin-verse. Could be interesting.
+
+Anyhow, I was struggling to figure out how spacial continuity would work between these dimensions; a home being lived in by me and Kay would likely be completely different from a home being lived in by me and Sara, even if it were the same building and everything. I don't exactly know why, but this lead me to think that this event occurs on Christmas; Kay and I have had a long, eventful day with much food eaten, and she takes a nap on the couch while I head in to game/stream. She unknowingly is transported during this nap.
+*/
+
+INT. DARK TV ROOM - NIGHT
+
+Kay lies asleep, catatonic. She lies on her right side on the couch. Her boner is distincly visible via the bulge in her Illumination-Grinch pajamas. It flops down to the side with gravity and twitches with her. It rests on her meaty thighs, and there she lies; the embodiment of a closet furry bisexual chubby chaser's wet dream.
+
+[[I want her to have a seggy pet name for me. i guess I'll go with subby for now? I could probably think of something better but idk.]]
+Her *moans* get too loud for her to remain asleep and she wakes. The moan that wakes her forms a word:
+
+KAY
+(softly)
+Subby-
+
+She sits up. We follow her, our view as disorienting as her mood. She sits up, shaking her head and massaging her penis. She bites her lip and blearily wanders through the dark house, hand still stimulating herself. She briefly checks her apple watch. '4:30 AM'.
+
+/*
+she says this to convince herself it's ok to
+
+edit 2021-01-19: she doesn't work. she's basically an independent contractor for the government. she really only has meetings. not sure how to rectify this.
+*/
+KAY
+(mumbled)
+No work in the morning.
+
+She wanders down a hallway to their shared OFFICE.
+
+INT. DARK OFFICE - NIGHT
+
+The regular computer-emitted fan noises and light aren't present. Her tired eyes note only this.
+
+KAY
+(mumbled)
+Slut's done streaming.
+
+She immediately heads to their bedroom.
+
+INT. DARK BEDROOM - NIGHT
+
+She pokes her head in the open doorway. She sees NATHAN, blindfolded, covered completely by blankets. He's nowhere near as catatonic as her while sleeping. She grins deviously and rubs harder.
+
+CUT TO:
+INT. CLOSET SHELF
+
+We see a closet shelf housing several of the couple's favorite tools: a leather choker-like leash and collar, a ball gag, varying lengths of soft black nylon rope. Kay takes them.
+
+[[initially intended as a tie to the wall, makes a bit more sense for the leash to be present if she ties his wrists instead]]
+When the bed is finally approached, she lies the tools down on it, puts her hand in front of Nathan's face for a couple seconds, then pulls the covers off him. Nothing but boxers shroud his feminine ass, which distracts Kay. She caresses him, shifting up and down from his thighs to above his hips. She snaps back to focus, equipping his gag, /*tying him to the clearly intentional mounted metal loop above their also clearly intentional less extravagant headboard.*/ binding his wrists and ankles. His boxers are slipped off, the leash is secured. Kay's Grinch PJs and accompanying plain boxers come off and she gets right into pleasuring herself with him. She thrusts into him, upright, with him bent over the edge of the bed. A *moan* of satisfaction and release escapes her. She chuckles erotically through her nose as she proceeds to pound him. It's clear she needed this.
+
+Nathan wakes, *moaning alongside her.* Noting this, Kay leans down, nibbling his ear.
+
+KAY
+Merry Christmas, slut.
+
+For some reason, this sets Nathan off. He struggles against his binds, attempting to shout through his gag, but Kay's steady hands keep his hips in place.
+
+KAY
+(laughing)
+Calm down, subby.
+
+We see a view of her from the bed, facing the door. Her gray T-shirt emblazened with the word 'PROVO' is the only thing that shields us from her large, bouncing breasts. Her expression is as lustful as can be expected. Nathan continues to moan and struggle in protest.
+
+KAY
+This is quite the performance,  I'm impressed.
+
+A moment passes, then a SHADOW approaches from the door. It speaks.
+
+SHADOW
+Nathan, are you being horny without me ag- WHAT THE FUCK?
+
+[[sara's eyes are dark hazel. not brown. not sure how i mandela affected myself]]
+Kay's eyes widen immensely as the light *clicks* on, but immediately turn to squinting at the brightness. The figure at the door is strikingly similar to her. Furry, big fuzzy tail, somewhat canid face, thick thighs and arms, cute PJs grudgingly concealing her bulge. But she has brown hair, hazel eyes, far more toned muscles, a Studio Ghibli mashup shirt. She's a red panda. And she's glaring at Kay with fury, who stumbles back, awkwardly pulling out to stare incredulously at the unfamiliar woman across from her.
+
+KAY
+Wha-
+
+SARA
+WHO THE FUCK ARE YOU, BITCH?
+
+[[i think the right, right, left should be a queen reference :youlooksogood:]]
+SARA lunges at Kay, tackling her into the headboard, which makes a terrible crunching sound. Sara punches Kay three times in the face. Right, right, left. Stunned, Kay grabs Sara's right as it attempts another blow. She pushes against her full mass, launching Sara into the far wall, destroying the drywall. Nathan lets out a gagged yell in protest.
+
+Kay follows up, lunging at Sara, who dodges and punches Kay in her exposed groin in one motion. She stumbles back, but not before Sara grabs her by the neck and lands another blow to her face.
+
+The next few moments are quick. Kay attempts a right hook, which is deflected by Sara, who attempts an uppercut, which is caught by Kay's free hand. Once over the surprise, they're perfectly in sync in hand to hand combat. They push each other away and simultaneously unsheath their weapons.
+
+The Acriamative flashes, and Sara's double shortswords rise to meet it. A deafening CLANG emits. Both women and the captive Nathan stare in shock and awe at the reveal.
+
+(beat)
+
+Both women yell and attempt to hit each other. It's clear neither of them are practiced swordswomen, though Sara quickly unmounts her weapons from their armbands to unlock a better range of motion. Neither can deflect the other's hits, and deep gashes open in both of them. Kay's blood is a dark pink, while Sara's is a dark aquamarine. The walls are heavily damaged by this exchange and the fight stumbles back into the TV room. Nathan hastily attempts to crawl and then awkwardly hop to follow, terrified.
+
+.FIGHT TO TV ROOM
+
+The room is only illuminated by the light streaming through destroyed bedroom wall. Kay shoves Sara to the ground and raises the Acriamative, but Sara shakily raises her weapons to attempt to deflect it.
+
+Nathan tackles Kay, his recently loosed ball gag bumping on his chest. Her wounds have weakened her, so she topples into the couch where we started. He hits her with his still-tied hands. His useless hits are in sync with his words.
+
+NATHAN
+You can't kill her! She'll just come back.
+
+He gets up and away from her quickly, shaking. He attempts to help Sara up, an awkward process with his limbs still tied. He falls over.
+
+NATHAN
+Fuckinhellshit.
+
+He unties his ankles as quick as he can, watching Kay, who gets to her feet in a daze.
+
+NATHAN
+Stay back!
+
+He succeeds in helping Sara up. She's just as weakened as Kay, who stops, swaying, attempting to keep the Acriamative aloft. She breathes heavily.
+
+KAY
+Nathan... Who the hell is this bitch?
+
+Nathan just stares, putting both his hands on Sara's shoulders. Sara shakes her shoulders and elbows him as the two women begin to circle each other.
+
+SARA
+Get out of our house or you're going to die. Nathan, fuck off.
+
+NATHAN
+No, that wasn't-
+
+KAY
+*Your* hou- I bought this house!
+
+SARA
+What? I bought it. We *live* here.
+
+Kay shakes her head and snarls.
+
+KAY
+No, this is *my* house, that's *my* boyfriend, and I'm gonna fucking kill you.
+
+SARA
+Holy shit, she's your girlfriend?
+
+Sara pushes Nathan into the corner as the two continue to circle each other.
+
+NATHAN
+NO, NO, NO!
+
+The circling causes Nathan to be behind Kay instead of Sara.
+
+KAY
+Oh, no doubt the wife is secret too. I'm gonna pound your brains out once I take care of this bitch. Clearly you need to be taught how to be loyal again.
+
+She points at Nathan. Sara yells in frustration and slashes. It's weakly deflected, and the lunge causes them to switch sides again.
+
+NATHAN
+Sara, stop, I don't know who this is.
+
+KAY
+(sarcastically)
+Oh, I wouldn't remember my high school crush either. All the dates, all the hintdropping I totally forgot. The romantic stalking and kidnapping, moving in together, the training and fighting and life risking just totally slipped my mind.
+
+SARA
+Nathan, call Delta Jay.
+
+
+[[replace IMC with whatever fictional or otherwise realistic faction I want Delta Jay to be a part of]]
+KAY
+Why would you call him, he's *my* IMC liason.
+
+SARA
+Yeah, well he works for *me.*
+
+KAY
+Oh, that's a weird coincidence because he actually works for *me*, and I'm sure he'll send you hell once he finds out how much you've wounded me.
+
+SARA
+The IMC can't stop me.
+
+KAY
+And you can't stop me. I can't die.
+
+SARA
+Neither can I, bitch.
+
+NATHAN
+Holy shit. You're Kalani, aren't you?
+
+Sara and Kay stop to look at the naked femboy.
+
+KAY
+(sarcastically)
+Took you long enough, hi, it's your *girlfriend of two years.*
+
+NATHAN
+Fuck you, we got married two years ago!
+
+He points to Sara, whose eyes flit between her lover and Kay. Kay allows the Acriamative to fall as she gestures dejectedly.
+
+KAY
+Damn it, and I was just about to propose, too. I can't fucking believe this, I fucking knew I should have dated girls instead.
+
+Sara shakes her head in disbelief.
+
+SARA
+What?
+
+Sara combines her two sword whips into one warily.
+
+KAY
+My question is, how the fuck did you hide an entire marriage from me *and* manage to convince *her* she owns our house. I thought you were a genius, but apparently you're stupid enough to think I wouldn't find out about this shit.
+
+SARA
+Bitch, this is OUR HOUSE!
+
+The women glare at each other.
+
+NATHAN
+Stop, stop stop stop stop stop. Whoever you are, you're insane, Sara I would never cheat on you. I thought you decided to surprise me by- byf- byf- bfuckin tying me up, but is was her. She was raping me in my sleep.
+
+He points at Kay, opens his still tied hands towards Sara, stimming with his fingers and shaking his head. He very much speaks with his hands.
+
+Kay and Sara both lower their weapons slightly, hiding their eyes behind their hands in shock in a mini-facepalm. Nathan notices the similar response and looks confusedly at both of them.
+
+[[This line may damage the worldbuilding. She should be shocked that someone like her exists and that should probably be on the forefront of her mind. This line almost implies that her condition is normal, which it is not by any stretch of the imagination.]]
+KAY
+You're really going to lie to leave me for a fuckin panda. You just *love* telling the truth until you can find another fuck buddy.
+
+NATHAN
+I've never seen you in my life!
+
+KAY
+I've fucked you in the ass every night since twenty twenty two, you dumb whore!
+
+SARA
+You said her name though.
+
+NATHAN
+Yeah, you sound like Kalani, but I haven't talked to her for years.
+
+SARA
+Oh, Kalani the lesbian you- wait...
+
+KAY
+I'm sure as hell a lesbian now!
+
+SARA
+Put your dick away then, so my cheating husband can stop staring at it.
+
+Nathan blushes profusely.
+
+NATHAN
+Rape, rape, rape, she *raped* me.
+
+KAY
+Nathan, you *love* getting raped.
+
+NATHAN
+Oh my fff...
+
+He's lost for words. Sara and Kay watch him for a moment, but snap back to each other, their stares are no longer as hostile.
+
+SARA
+(confusedly)
+So clearly we've both had a lot of sex with Nathan without either of us finding out he was a cheater.
+
+NATHAN
+But that's not true! I can count on one hand the amount of times Kalani and I hung out, we never so much as flirted after sophomore year!
+
+SARA
+Oh, oh, but you *said* you fantasized about her constantly until we started hooking up. Turns out they weren't fantasies.
+
+KAY
+Damn right they weren't.
+
+SARA
+Fuck this.
+
+She gets up to leave, staggering as she clutches her bloodstained shirt.  Nathan grabs her.
+
+NATHAN
+Slow down slow down, stop. Please please please just sit down and rest. Untie me, I'll get my clothes, we can grab some soda and stop you from bleeding out. Sara look at me. You have to believe me. We're going to get an explanation from her.
+
+KAY
+Wait, Sara?
+
+Nathan and Sara look at Kay, who slumps down on the couch, her weapon clanging to the ground as she grips her side.
+
+KAY
+Nathan and I know a Sara, and she doesn't look like you. Something's gone horribly wrong.
+
+NATHAN
+Sara, sara, see? Untie me, untie me.
+
+She obliges, still staring at Kay. Nathan rushes back into the destroyed bedroom. Kay pulls what's left of her shirt down to cover up her still slightly erect cock. Sara looks away and pretends like she doesn't see it.
+
+SARA
+Sara's a very common name. I only know one Kalani.
+
+KAY
+You sound exactly like her though. We both went to Jordan, but didn't properly meet until Nathan invited us both over for a movie night. I thought you were pretty hot but I thought you two were dating otherwise...
+
+NATHAN (O.S.)
+Oh, no way.
+
+SARA
+Thanks? Wait. Was there anyone else there? What movie did you watch?
+
+KAY
+I brought my best friend Ana over. Nathan had some of his friends.
+
+SARA
+We watched Alien and Aliens.
+
+KAY
+You watched Aliens?
+
+SARA
+Yeah, but you two left as we went to get ice cream.
+
+Nathan reappears fully clothed. He tosses Kay's PJs and boxers back to her.
+
+NATHAN
+I thought I recognized those pants. Cumberbatch grinch, not Carrey.
+
+Kay gets up to put her clothes back on. Her cock is still massive when flaccid. Sara turns away, but Nathan only pretends not to look.
+
+KAY
+It's ok to stare.
+
+SARA
+(growling)
+Not when it's you, it's not.
+
+Sara grabs Nathan by the arm and pushes him to turn away.
+
+NATHAN
+I'm the victim here, she raped me.
+
+SARA
+We all know you fuckin enjoyed it.
+
+NATHAN
+Yeah, when I thought it was you!
+
+KAY
+Guys, stop. We're all the victims of a misunderstanding, not rape. Nathan talks about this shit all the time.
+
+Cut to the three sitting down, fully clothed, besides the torn shirts and blood. Nathan's ballgag is replaced by a choker. Kay is on the corner of the sectional, Sara on one of the ends, Nathan on the ottoman inbetween them. The three of them sip sodas from the mini-fridge.
+
+/*
+alternate confrontation/realization
+
+NATHAN
+How come you two are the only two superhuman, humanoid lifeforms with conjurable custom weapons on this earth?
+
+(beat)
+
+KAY
+I got my powers because of you.
+
+SARA
+*/
+
+KAY
+What we're going to do is we're going to describe our relationship with the other two how we see it, I'll go first. I'm Kalani Lindsay Whitmore. I met Nathan at Jordan in freshman year, had a crush on him sophomore year. We texted and hung out a couple times during college, and I...
+
+She pauses.
+
+[[perhaps it's out of character to be as upfront as she is about this so this can be trimmed]]
+KAY
+I was very self-conscious about my weight. It was kind of... destroying my life. I pushed away my roommates and family and lived on my own, I was too depressed and anxious to go to school, I wasn't paying bills, all I was doing was exercising and eating. But I couldn't lose weight. It was like I was cursed. So I stopped eating. I starved myself, but my damn scale wouldn't move an ounce. I thought I was going crazy. One day I collapsed on the treadmill and blacked out. When I woke up, I was in another world. I was transformed, I wasn't human anymore. I had to fight monsters and survive, and all the while I knew he did it.
+
+She points at Nathan. Sara puts a hand to her mouth in realization.
+
+KAY
+I had powers. Super strength. My hyperhydrosis turned into something different. I still sweat a ton, but it wasn't gross anymore. I had healing powers. I can control things with my pheromones, I could knock things out.
+
+Sara and Nathan exchange glances several times. Nathan snaps incessantly.
+
+SARA
+I don't sweat very much at all, but I can do all those things too, it's just a lot harder.
+
+Kay nods.
+
+KAY
+Hang on. So when I finally found out how to return to this world, I started stalking him. Found his streams, twitter, everything. My entire life was all about figuring out how to live with my new form and figuring out everything about him. That and... anyway, I was obsessed, I wanted to own him. /*I began to sneak into his house in the dead of night and...*/ Well eventually it drove me insane and I wanted to be with him in person, so I devised a way to use my pheromones to trick people into thinking I looked completely human. Doesn't work on video obviously but anyone who was within a couple feet of me saw me as how I used to be. I went to his work with a mask and sunglasses to hide most of my appearance, walked right up to him and...
+
+She sighs. Nathan stims by bobbing his leg and swilling his soda around in the can. Sara similarly bobs her leg.
+
+KAY
+Eventually I snuck into his house, we had a consensual kidnapping, it was really romantic and hot, he loved it, he always loved being put in his place by me. We dated ever since. We moved in together, he told me how he thought my powers worked, we trained together, took up vigilantism, got picked up by the IMC, eventually we worked out a deal where they supported my efforts and sent me on missions while Nathan stayed at home being a boywife. I was going to surprise him with another kidnapping and proposing to him... somewhere special, I don't know. Now I'm not even sure if that was real or anything because you don't remember at all, and...
+
+Her voice breaks, she looks away. A pause.
+
+NATHAN
+So I did think you were crazy, then I thought you were a figment of my old fantasies that manifested itself physically to destroy my life and marriage, and now I think you're from an alternate universe where what happened to Sara happened to you somehow.
+
+KAY
+*There's* the shit Nathan always talks about.
+
+Sara fidgets with her ring.
+
+SARA
+I thought I was special.
+
+NATHAN
+You are, of course you are. Even in an infinite multiverse.
+
+KAY
+Ok, Sara next. I met you at a movie night he invited us to years ago, I knew Nathan always really liked you, you were friends for ages, made animations together, you're working on a TV show. He always insisted you were just friends but I knew he would fuck you in a heartbeat given the chance. Can't blame him, you're hot.
+
+Nathan groans and stims harder, shaking his head.
+
+NATHAN
+Oh, this is weird, Kalani is telling me my wife is hot and I haven't fucked her.
+
+KAY
+Well, where I come, you haven't. *Yet.*
+
+She growls the last word. Sara scowls.
+
+SARA
+How am I supposed to take this? How do I know you're not making all of this up?
+
+NATHAN
+Hang on here, let's just assume this theory is correct. Occam's razor may not whittle away the multiverse explanation, I don't have any better way of seeing this. We basically have to find out which one of us doesn't belong here.
+
+KAY
+Sara, you next. How do you know Nathan? Pretend you know neither of us and describe it as though we're new people entirely.
+
+Sara looks at the others, scowls at both and sighs.
+
+SARA
+We met at CTEC. Became really good friends. I knew him for several years. He always knew how to rile me up, but he had a way with words. Helped me through a breakup after a four-year relationship. I needed a lot of time to get over it, but all the while I was fighting feelings for him. Needed him really bad. Vented it out by going to the gym. One day I came home and...
+
+She shakes her head and sighs.
+
+SARA
+Same thing as you. Collapsed, was in another world, fought my demons, came back, fucked his subby brains out, proposed, married, became a superhero, yada yada.
+
+Nathan gets up and puts his arm around her. She tenses up, but doesn't stop him.
+
+NATHAN
+And how do you know Kalani?
+
+SARA
+(reluctantly)
+Same as you, she's the lesbian who you were obsessed with in high school and college.
+
+NATHAN
+I- no, she just-
+
+KAY
+It's true, you were obsessed. You told me your fantasies about dicks caused me to manifest one.
+
+Sara grins, slapping his thigh.
+
+NATHAN
+Oookay, glad we're on the same page here, anyway, I knew Kalani in high school, she was terrible at keeping contact and I was always second-guessing how much she wanted to talk to me, even after hanging out a couple times. She... ended up showing some red flags. And she liked girls more anyway so we drifted apart.
+
+KAY
+Okay, I think the difference is that I went to the Sanctum first and became obsessed with you, while your Kalani was never sent to the Sanctum in the first place.
+
+NATHAN
+She's not *my* Kalani.
+
+SARA
+Our *universe's* Kalani.
+
+NATHAN
+Your personality is entirely different from our universe's Kalani though.
+
+KAY
+Yeah, I've been through a lot. You stopped talking to me when I was like, twenty.
+
+NATHAN
+No, *you* stopped talking to me.
+
+KAY
+You should really hit me up sometime, like right now actually. Am I still working, did I get the hospital job, or am I in social work? Am I still single? Did I finally have gay sex or did I never find someone in Utah gay or desperate enough to be willing to scissor me?
+
+NATHAN
+Now *that* sounded a lot like you except for the gay sex part.
+
+KAY
+Oh, you'd be surprised, I miss the idea of pussy so much.
+
+NATHAN
+Getting warmer.
+
+SARA
+Okay, you can fantasize about selfcest on your own time. What I want to know is what your dick was doing in my husband.
+
+[[i feel like "was a pussy" is too aggressive and would warrant a reaction/interruption. i would probably trail off for a second and explain it less aggressively to be diplomatic]]
+NATHAN
+Well, I mean, it makes sense. Kalani was a... well she couldn't propose to me as early as you did, but we still were just as together as you and I. We've got similar sexual tastes and a similar relationship... uh, dynamic, it's no wonder that I would wake up getting railed, tied up, and gagged...
+
+This distracts the ADHD trio. Then they remember one of them is from a different universe. Sara hits Nathan.
+
+SARA
+Anyway...
+
+NATHAN
+Anyway, your cock was amazing.
+
+Sara glares at him and hits him again.
+
+NATHAN
+I mean just as good as Sara's if not- I mean I thought it was her until I recognized your voice. Well not recognized. Just knew it wasn't hers.
+
+KAY
+You really are the exact same, you sub. I just wish I could uh... I mean you're not my Nathan so whatever. I'm just happy you're happy I guess. Though if I were in a universe where you were still me and not someone else I'd totally be down for a three-way.
+
+[[i don't think they're at the hitting level, more likely she would jolt forward to try and hit her seriously]]
+Kay points at Sara, who bristles at her statement and jolts forward, causing Kay to flinch. Nathan hides his face in Sara's big furry tail.
+
+KAY
+Sorry, I can't help myself around him! Surely you feel the need to dirty talk too!
+
+SARA
+Not when his alternate dimension crush just fucked my sloppy seconds and tried to kill me.
+
+NATHAN
+Sloppy seconds?! We're married!
+
+KAY
+And I don't want to get inbetween you obviously, I thought I was fucking my boyfriend for like the seven thousandth orgasmic time.
+
+SARA
+And I thought some bitch was stealing him from me.
+
+NATHAN
+And I thought I was getting pulverized by my wife's 10-inch monster cock, we get it. None of us did anything to purposely hurt the others except you two. Clearly we were all thinking with the wrong head. Or no that was just you two and your cock measuring contest for who has the coolest weapon, by the way, it's Sara, sorry Kay, no chance, but if we're going to have a cock measuring contest I prefer one that doesn't involve two of the most powerful humans in existence bleeding out fighting over me. Actually, how big is your cock?
+
+SARA
+Nathan!
+
+Another love tap ensues. Probably a little harder. Kay grins, shifting her weight a little nervously.
+
+KAY
+Eight flaccid, ten erect, twelve on viagra or a good day.
+
+NATHAN
+(overcome)
+Oh, fuck me.
+
+SARA
+(gritting teeth)
+That's *my job.*
+
+Nathan jumps up.
+
+NATHAN
+And who am I to leave my wife unemployed? Anyhow, I say we go get some McDick's. Both of you must be starving and you've got cells to regenerate. I'll get the keys, babe.
+
+[[really needed to be said]]
+SARA
+We're not going anywhere until we find out where she's from, why she's here, and how to get rid of her. She could still be lying about all of this.
+
+KAY
+I can't lie with him in the room, he's not mine, but he's still Nathan.
+
+NATHAN
+That's- okay. Oddly familiar.
+
+He sits back down.
+
+SARA
+Stop doing that. This has to be some sort of hit operation. The IMC augmented someone to come in as an actor to either kill me or sabotage our marriage.
+
+KAY
+How would the IMC know about our trust pact thing?
+
+SARA
+He's always going off about honesty. Delta Jay must have known and snitched.
+
+KAY
+Oh! They don't know he has a rape fetish.
+
+NATHAN
+Don't put it that way.
+
+SARA
+Even if you *are* from another universe, why come here to fuck someone else's husband?
+
+KAY
+I *didn't,* I wouldn't. I like my boyfriend all to myself and I wouldn't steal someone else's, it'd kill him. I woke up here, right on the couch. Thought it was my house.
+(beat)
+
+SARA
+But how did you get there.
+
+KAY
+Maybe I dreamed too hard. Maybe this is a dream borne out of my insecurities knowing he'd be with you given the choice. All I know is I woke up horny and all three of us can't blame each other for that.
+
+Nathan makes a confused noise.
+
+SARA
+Ok, fine. If you got here by sleeping, you can leave by sleeping. Can I kill you?
+
+NATHAN
+Consent is key.
+
+KAY
+Bitch, you can try. I was winning anyway.
+
+SARA
+As if. I'll send you back right now.
+
+She resheathes only a small section of her resting weapon; a single stealth knife.
+
+NATHAN
+Let's... not be too stab-happy. Even if you can kill her and she doesn't come back, how do you know that she's returned and you haven't just killed her?
+
+KAY
+Yeah I don't wanna die, not without cumming first.
+
+SARA
+Find someone else to help you with that.
+
+NATHAN
+Help! Of course, we'll take her to the IMC ASAP after mcdeez. They'll be fascinated with her, remember the Lab, Sara?
+
+Sara squints with frustration upon remembering. Nathan gets up again.
+
+SARA
+I try not to.
+
+NATHAN
+Ok, that's a deal! This is going to be the best magdondal trip yet. I can ask you all about your universe and how it's different and how it's the same, just amazing!
+
+He prances out of the room, sipping his soda.
+
+NATHAN
+(laughing)
+Oh, merry fuckin' Christmas!
+
+Both women follow his ass with their eyes, and then they quickly snap to each other.
+
+SARA
+I'm a master of stealth. Try to fuck him again and I'll kill you. What's more is that he'll probably let you and then I'll divorce him and he'll die alone.
+
+Kay gets up, examines her bloody shirt, and sheathes the Acriamative as she talks, taking several steps away from Sara.
+
+[[Something in this conversation needs to address how she got there in the first place and therefore how to get her back. Perhaps after MCD they go to delta jay or perhaps nafan and sara already figured out something though that's less likely]]
+
+KAY
+And then when I figure out how to return to my universe you'll get lonely and ressurrect him, I get it. He's all yours. Though the offer's still on the table, he always said you were secretly bi and I'd fuck the shit out of both of you in a heartbeat.
+
+Sara's weapons disappear from the floor as she unsheaths them into her hands. Kay knows the sound well.
+
+[[her attitude is a bluff. she's secretly extremely wary of someone with her abilities being an enemy, but that's not on the forefront of her mind because she knows that them fighting again won't happen if Nathan is there.]]
+KAY
+I know I drive a hard bargain but suit yourself. I know my Nathan wouldn't mind.
+
+SARA
+(grumbling)
+That's what I'm afraid of.
+
+Kay starts to head upstairs. Sara quickly unsheaths her weapons and pushes past her.
+
+SARA
+This is my house. Don't act like you own it.
+
+KAY
+Force of habit, not sorry.
+
+NATHAN
+Enough of this toxic femininity, let's get in the car.
+
+Hard upwards pan to Nathan swinging Sara's lanyard above the stairs from his position at the handrail. He heads off in the direction of the garage.
+
+SARA
+Oh no you don't. I'm not letting you drive for at least half a year after tonight.
+
+NATHAN
+You can't just do that to me, this wasn't my fault!
+
+Sara approaches him into the great room and takes the keys from him.
+
+SARA
+(under breath)
+Well clearly you're enjoying it. Punishing you with no sex punishes me, so I'm taking away your freedoms until you get a better attitude.
+
+He ignores her lowered tone. They walk to the garage.
+
+NATHAN
+My attitude is great, I'm just a little horny.
+
+SARA
+Little horny bitch.
+
+KAY
+Can't blame anyone for being horny. We've all been there. 24/7.
+
+NATHAN
+Your honor, my client would like to plead horny on all charges.
+
+SARA
+Guilty. Sentenced to 6 months no driving privileges.
+
+She opens the garage door and they step out.
+
+NATHAN
+No fair. I move for a mistrial!
+
+KAY
+Can I be on the jury?
+
+[[SARA
+You can be on the next train to your own dimension.
+
+Kay notices their car. 2020 Toyota Highlander.
+
+KAY
+Shit, my Nathan and I have a White 2022 Toyota Camry. I guess I would have had a lot of questions if I had come in here before...
+
+NATHAN
+I expect there will be a billion and a half differences to point out between here and your home universe!
+
+He answers passionately but is visibly displeased at having to ride shotgun. They sit down, Kay in pursuit. As Kay walks towards the back, Sara notes Nathan's expression but keeps her eyes on Kay.
+
+SARA
+(quietly)
+Don't be so mad about it, you ride shotgun most the time anyway.
+
+He once again ignores her quieted tone.
+
+NATHAN
+Well now I'm thinking about the fact it *could* have been a possibility and I'm being punished for something I didn't do.
+
+Kay gets in the back and scoots into the middle. She's looking relatively pleased with herself, watching the couple.
+
+KAY
+Come to think of it there's probably tons of details within the house I didn't notice due to my grogginess. Y'all probably have tons of things we don't.
+
+NATHAN
+Do y'all have McDonald's?
+
+KAY
+Of course, why would that be any different?
+
+NATHAN
+What part of infinite don't you understand? Just because you happen to know two people in this entire alternate world doesn't mean everything else would be the exact same.
+
+KAY
+Alright, what is different then?
+
+Sara starts the car grumpily.
+
+NATHAN
+Well, we've already been over how different our lives are, which has a cascading effect on a lot of things, but literally anything else could be different. The existence of business, of notable historical figures or events, all sorts of things could be different. Did y'all have 9/11? The Holocaust? Covid? Antifa?
+
+KAY
+Sounds familiar. There's gotta be *something* else that's hugely different, right?
+
+NATHAN
+We can only find out through exploration. I would think that the differences we've already experienced imply there could be other quite notable discrepancies. Stuff well beyond the atomic level. Oh! We could have shown her your suit! I'm sure there are many differences-
+
+SARA
+(growled)
+There is no way in hell that's happening.
+
+KAY
+I do have a suit tailored to my needs and powers. Custom built and designed by the IMC.
+
+NATHAN
+I was gonna say, I was assuming you also had one.
+
+KAY
+Of course, can't live without it. I wear it at home all the time just for the AC.
+
+SARA
+Yours has AC?
+
+KAY
+Yours doesn't? How do you deal with hyperhydrosis?
+
+SARA
+What?
+
+NATHAN
+Sara doesn't *have* hyperhydrosis.
+
+KAY
+Doesn't that make your healing powers less effective? Me sweating so much is how I can get enough fluid to revive someone. I literally have a tank on my suit for it.
+
+Nathan and Sara exchange glances.
+
+NATHAN
+A tank?
+
+KAY
+Yeah, it collects my sweat, I'm exercising so it's a lot, it fills into the tank and I can mist it onto people. Are you not a combat medic like me?
+
+SARA
+My powers don't work like that.
+
+NATHAN
+Yeah, they're more just pheromones. The IMC gave her these little syringes for some healing but they really just introduce the fluid into the person's system if we *really* need them alive.
+
+KAY
+*Need* them alive? You don't try to save as many people as possible?
+
+SARA
+The IMC doesn't care about saving everybody. That doesn't mean I don't try, but they tie my hands. Sometimes literally.
+
+KAY
+This is so interesting. You're telling me you can't just juice them and they'll wake up in a couple hours?
+
+SARA
+No, it does work that way, but I don't have enough juice. *You* try collecting your own saliva samples to fill a single syringe. It takes ages. Anyway we shouldn't be talking about it, they'd have a fit if they knew I was *exposing* their secrets.
+
+She finishes the sentence mockingly, obviously frustrated with the organization.
+
+KAY
+Wow, for once in my life I'm glad I have hyperhydrosis. It's really the reason why I can help people. I only wish I could help more, but even all the sweat I produce isn't enough to help everyone. It's a blessing and a curse, to know that I could cure anyone of anything, including death itself, but that I will never be able to do so with everyone.
+
+Small silence.
+
+NATHAN
+You can revive corpses?
+
+KAY
+Not like that! But yes. The IMC determined submerging remains, no matter how damaged, into the Juice, caused them to regenerate as long as there were enough nutrients. This was insane, they created a vat of the Juice mixed with nutrients, mainly protein, and tossed, well. They tossed all sorts of things into it but we straight up brought back someone's cremated remains. Like there was someone in the lab who had seen us revive animals, secretly sprinkled the urn in there, in just a couple hours his mom was back. Naked of course, but in her prime. She was hot by the way. She remembered everything.
+
+NATHAN
+Holy shit.
+
+KAY
+Yeah so you can imagine how insane that was. After the fluid in her lungs ran out enough and she could speak, she had a lot to say. Her son... well you can imagine. Hysterical. I'm not sure what he even expected, but it must have been... really something to see your mother back, younger than you. I haven't even spoken to mine since...
+
+Silence again.
+
+SARA
+I never knew that was possible. The only thing that's stopping me from saving people like that is enough Juice?
+
+NATHAN
+We don't know that. We don't know the extent to your powers.
+
+SARA
+Well I want to find out. We're bringing you to the IMC and you're going to help them help me save people.
+
+KAY
+You can't demand that of me, I can't stay here forever. I want to go *home*, to *my* Nathan.
+
+NATHAN
+(to Sara)
+For all we know, that's not even how it works. She might have a limited amount of time here.
+
+SARA
+All the more reason to get here over there right now. Seriously, let's start now.
+
+NATHAN
+The IMC is not going to be excited to learn about freaking quantum anomalies causing accidental interdimensional travel. And if they were, it'd be because they want to weaponize it.
+
+KAY
+I'd hate to see them with that.
+
+NATHAN
+You and me both.
+
+They stop at a red light. Sara glares at Kay through the rear view. Kay purses her lips in response.
+
+SARA
+I don't think they're even capable of that but that's not the point. Who cares if you can't be at home with *your* NATHAN.
+
+She makes this remark with utter disdain. It is not subtle.
+
+SARA (CONT'D)
+If you could save a single life and all it cost was being away from him, how long would it take for you to cave?
+
+KAY
+I don't think you understand. I really love him. I can't live without him.
+
+SARA
+(growled)
+Maybe that means you *need* to spend time away from him.
+
+NATHAN
+I can't help but feel like-
+
+SARA
+It's not your turn to speak.
+
+==
+
+EMPLOYEE
+Uh, are you guys alright?
+
+She notes the strange colored blood all over the two humanoids. Nathan has also been stained on his hands.
+
+KAY
+Normal Tuesday night.
+
+NATHAN
+It's not even Tuesday.
+
+He had to check his phone to make sure. It's actually an early morning on a Wednesday; Christmas 2024.
+
+==
+
+[[her return to her original universe is indicative of how much the experience changed her. rather than returning to do honry things to nafan in his sleep, she wakes him up, something he normally hates and thus she would never do, to ensure he knows who she is and that they're actually together. He's confused but gives her the information she needed, she sleepily says she'll tell him in the morning.]]

kay/alternateseggychristmas_006.fountain

@@ -0,0 +1,917 @@
+Title: _alternateseggychristmas_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: i have ~~paraphilias~~ issues
+
+/*
+inspired by between sleep daydream right before having to go to work 11/29/2022 ~7:30am. Wasn't entirely conscious; my brain is so used to the fake scenarios method that it attempts to re-enter sleep stages by utilizing the method even when not conscious. It's a bit spooky that my fantasies have been so far engrained into both the conscious and subconscious that this happens. I've conditioned myself through habitual fantasizing that my brain itself has rewired to have wacky habits. The honry is too strong. Anyway my fav scenario as of late has been that of getting double dicked by Sara and Kay, and Sara mommy domming the both of us. The semiconscious dream derived from the scenario was that of me being in a relationship with Sara (seemed to be in old house bedroom which really solidifies it as a dream but it having been somewhat lucidly triggered by semiconscious thought... this pseudoscience is strange...) and Kay being on the outside trying to barge her way into it and finally succeeding in creating a sort of polycule between the three of us. I don't think I could do it in real life. That's why it's just a fantasy. Bit of a guilty pleasure I think. But it goes like Kay is domming me, trying to own me, Sara then doms and reclaims me by sitting on my lap and forcing my face into her chest, then making out with Kay. She says something sarcastic/bratty back to her, Sara slaps her and forces to call her mom or something. It was a subconscious thought man don't judge me.
+
+Anyway the following is derived from me thinking about it throughout work day; what if this spiderverse scenario was accidentally and unknowingly triggered on Kay, specifically a version of Kay who had claimed me after her transformation and we lived together, but the universe she is transported, seemingly abducted to, is identical to her native universe except the only variable changed was that Sara was sent to her own Inner Sanctum rather than Kay; Sara has similar abilities, underwent a similar transformation. Perhaps the reasoning for her transformation could be different and more fitting than Kay's; Kay was sent because she was trying to lose weight while being forced not to, breaking physics and causing her to be reverted to a spiritual state, where her soul had to fight within her consciousness (represented in 3 dimensions by an Inner Sanctum) with her problems, conquering them and once that internal conflict was resolved, the Sanctum was exited and her body transformed at a time dilated pace. I think that justification makes sense but could be expanded upon in the main storyline. However, I'm having trouble trying to make it fit how this could work for Sara. I like the idea that she becomes muscle mommy rather than chubby mommy with unequivalent physical power to her appearance, but I'm thinking in order for the requirements for a Sanctum transformation to be met, there would have to be something changed about myself as well. I was the one who caused some of the requirements for the Sanctum to be met by having such a crush on Kay, but also a big thing for chubby girls, that I didn't want her to lose weight but fantasized about a world where she could be that weight but healthy and also happy with herself, forcing her to remain that weight, causing the Sanctum entrance and eventually creating that world. Perhaps Sara's would be in reverse. She wants to work out, alt-me encourages her to work out because alt-me has a muscle mommy thing > chubby mommy thing, my fantasies change to be more suited to make Sara the one who gets Sanctum'd. I would rather that be the case than the requriements for Sanctuming be changed, though in an infinite multiverse that is admittedly also a variable that could be changed.
+
+I find the fantasies thing interesting; a big part of my fantasies are literally just that my fantasy lover's powers just fix the stimuli to my OCD. I hate things being unsanitary and uncomfortable, especially in relation to sex. Her powers remove those issues. I think this explains why Sara's powers would be similar even if the reason her transformation occurred was quite different. My idealized version of any lover could consistently have the same healing and superhuman powers. I kinda love the idea of being immortal with one parter; both Kay's and Sara's powers would be able to bring someone back from even death and even restore them to a point as if nothing happened, with some exceptions. I think some scars could remain or perhaps become more defined because both Kay and I subconsciously control what the healing does and would be very thematically interesting; I like some scars, perhaps she can find them hot as well, thus they remain, almost divinely.
+
+I'm thinking Sara would have far more restraint when it comes to killing someone or inflicting pain, even though she'd have a similar or perhaps identically potent healing power. A line from Kay to her recognizing "If I discovered someone in my home fucking my husband I wouldn't be able to stop myself from killing them."
+
+This entire thing is why it's so tough just to write multiverse shit and slap in a million different versions of the same individuals into one story and call it good. There's so much depth to be explored with even just two differing universes with only a couple slightly tweaked variables. Not only is the exploration of that depth often far more interesting, but it's far more feasible because exploring that depth can clear up a lot of confusion on how the different versions are different and how they realistically ended up that way. With some multiverse content you just have to go "hm, guess that's just x character from the dimension where y variable is different" and that's just so incredibly boring... Not even to get into how F'd multiversal travel and god forbid multiversal threats can be to your previously well-grounded, well-written story. Perhaps the way it works in my multiverse is that eventually, everyone spends at least one day pulled into an alternate universe and has to figure out how to reverse it or something. Could be interesting. So at least once, either someone from the origin-verse or whatever is pulled out, like in this story, or someone from another universe visits the origin-verse. Could be interesting.
+
+Anyhow, I was struggling to figure out how spacial continuity would work between these dimensions; a home being lived in by me and Kay would likely be completely different from a home being lived in by me and Sara, even if it were the same building and everything. I don't exactly know why, but this lead me to think that this event occurs on Christmas; Kay and I have had a long, eventful day with much food eaten, and she takes a nap on the couch while I head in to game/stream. She unknowingly is transported during this nap.
+*/
+
+INT. DARK TV ROOM - NIGHT
+
+Kay lies asleep, catatonic. She lies on her right side on the couch. Her boner is distincly visible via the bulge in her Illumination-Grinch pajamas. It flops down to the side with gravity and twitches with her. It rests on her meaty thighs, and there she lies; the embodiment of a closet furry bisexual chubby chaser's wet dream.
+
+[[I want her to have a seggy pet name for me. i guess I'll go with subby for now? I could probably think of something better but idk.]]
+Her *moans* get too loud for her to remain asleep and she wakes. The moan that wakes her forms a word:
+
+KAY
+(softly)
+Subby-
+
+She sits up. We follow her, our view as disorienting as her mood. She sits up, shaking her head and massaging her penis. She bites her lip and blearily wanders through the dark house, hand still stimulating herself. She briefly checks her apple watch. '4:30 AM'.
+
+/*
+she says this to convince herself it's ok to
+
+edit 2021-01-19: she doesn't work. she's basically an independent contractor for the government. she really only has meetings. not sure how to rectify this.
+*/
+KAY
+(mumbled)
+No work in the morning.
+
+She wanders down a hallway to their shared OFFICE.
+
+INT. DARK OFFICE - NIGHT
+
+The regular computer-emitted fan noises and light aren't present. Her tired eyes note only this.
+
+KAY
+(mumbled)
+Slut's done streaming.
+
+She immediately heads to their bedroom.
+
+INT. DARK BEDROOM - NIGHT
+
+She pokes her head in the open doorway. She sees NATHAN, blindfolded, covered completely by blankets. He's nowhere near as catatonic as her while sleeping. She grins deviously and rubs harder.
+
+CUT TO:
+INT. CLOSET SHELF
+
+We see a closet shelf housing several of the couple's favorite tools: a leather choker-like leash and collar, a ball gag, varying lengths of soft black nylon rope. Kay takes them.
+
+[[initially intended as a tie to the wall, makes a bit more sense for the leash to be present if she ties his wrists instead]]
+When the bed is finally approached, she lies the tools down on it, puts her hand in front of Nathan's face for a couple seconds, then pulls the covers off him. Nothing but boxers shroud his feminine ass, which distracts Kay. She caresses him, shifting up and down from his thighs to above his hips. She snaps back to focus, equipping his gag, /*tying him to the clearly intentional mounted metal loop above their also clearly intentional less extravagant headboard.*/ binding his wrists and ankles. His boxers are slipped off, the leash is secured. Kay's Grinch PJs and accompanying plain boxers come off and she gets right into pleasuring herself with him. She thrusts into him, upright, with him bent over the edge of the bed. A *moan* of satisfaction and release escapes her. She chuckles erotically through her nose as she proceeds to pound him. It's clear she needed this.
+
+Nathan wakes, *moaning alongside her.* Noting this, Kay leans down, nibbling his ear.
+
+KAY
+Merry Christmas, slut.
+
+For some reason, this sets Nathan off. He struggles against his binds, attempting to shout through his gag, but Kay's steady hands keep his hips in place.
+
+KAY
+(laughing)
+Calm down, subby.
+
+We see a view of her from the bed, facing the door. Her gray T-shirt emblazened with the word 'PROVO' is the only thing that shields us from her large, bouncing breasts. Her expression is as lustful as can be expected. Nathan continues to moan and struggle in protest.
+
+KAY
+This is quite the performance,  I'm impressed.
+
+A moment passes, then a SHADOW approaches from the door. It speaks.
+
+SHADOW
+Nathan, are you being horny without me ag- WHAT THE FUCK?
+
+[[sara's eyes are dark hazel. not brown. not sure how i mandela affected myself]]
+Kay's eyes widen immensely as the light *clicks* on, but immediately turn to squinting at the brightness. The figure at the door is strikingly similar to her. Furry, big fuzzy tail, somewhat canid face, thick thighs and arms, cute PJs grudgingly concealing her bulge. But she has brown hair, hazel eyes, far more toned muscles, a Studio Ghibli mashup shirt. She's a red panda. And she's glaring at Kay with fury, who stumbles back, awkwardly pulling out to stare incredulously at the unfamiliar woman across from her.
+
+KAY
+Wha-
+
+SARA
+WHO THE FUCK ARE YOU, BITCH?
+
+[[i think the right, right, left should be a queen reference :youlooksogood:]]
+SARA lunges at Kay, tackling her into the headboard, which makes a terrible crunching sound. Sara punches Kay three times in the face. Right, right, left. Stunned, Kay grabs Sara's right as it attempts another blow. She pushes against her full mass, launching Sara into the far wall, destroying the drywall. Nathan lets out a gagged yell in protest.
+
+Kay follows up, lunging at Sara, who dodges and punches Kay in her exposed groin in one motion. She stumbles back, but not before Sara grabs her by the neck and lands another blow to her face.
+
+The next few moments are quick. Kay attempts a right hook, which is deflected by Sara, who attempts an uppercut, which is caught by Kay's free hand. Once over the surprise, they're perfectly in sync in hand to hand combat. They push each other away and simultaneously unsheath their weapons.
+
+The Acriamative flashes, and Sara's double shortswords rise to meet it. A deafening CLANG emits. Both women and the captive Nathan stare in shock and awe at the reveal.
+
+(beat)
+
+Both women yell and attempt to hit each other. It's clear neither of them are practiced swordswomen, though Sara quickly unmounts her weapons from their armbands to unlock a better range of motion. Neither can deflect the other's hits, and deep gashes open in both of them. Kay's blood is a dark pink, while Sara's is a dark aquamarine. The walls are heavily damaged by this exchange and the fight stumbles back into the TV room. Nathan hastily attempts to crawl and then awkwardly hop to follow, terrified.
+
+.FIGHT TO TV ROOM
+
+The room is only illuminated by the light streaming through destroyed bedroom wall. Kay shoves Sara to the ground and raises the Acriamative, but Sara shakily raises her weapons to attempt to deflect it.
+
+Nathan tackles Kay, his recently loosed ball gag bumping on his chest. Her wounds have weakened her, so she topples into the couch where we started. He hits her with his still-tied hands. His useless hits are in sync with his words.
+
+NATHAN
+You can't kill her! She'll just come back.
+
+He gets up and away from her quickly, shaking. He attempts to help Sara up, an awkward process with his limbs still tied. He falls over.
+
+NATHAN
+Fuckinhellshit.
+
+He unties his ankles as quick as he can, watching Kay, who gets to her feet in a daze.
+
+NATHAN
+Stay back!
+
+He succeeds in helping Sara up. She's just as weakened as Kay, who stops, swaying, attempting to keep the Acriamative aloft. She breathes heavily.
+
+KAY
+Nathan... Who the hell is this bitch?
+
+Nathan just stares, putting both his hands on Sara's shoulders. Sara shakes her shoulders and elbows him as the two women begin to circle each other.
+
+SARA
+Get out of our house or you're going to die. Nathan, fuck off.
+
+NATHAN
+No, that wasn't-
+
+KAY
+*Your* hou- I bought this house!
+
+SARA
+What? I bought it. We *live* here.
+
+Kay shakes her head and snarls.
+
+KAY
+No, this is *my* house, that's *my* boyfriend, and I'm gonna fucking kill you.
+
+SARA
+Holy shit, she's your girlfriend?
+
+Sara pushes Nathan into the corner as the two continue to circle each other.
+
+NATHAN
+NO, NO, NO!
+
+The circling causes Nathan to be behind Kay instead of Sara.
+
+KAY
+Oh, no doubt the wife is secret too. I'm gonna pound your brains out once I take care of this bitch. Clearly you need to be taught how to be loyal again.
+
+She points at Nathan. Sara yells in frustration and slashes. It's weakly deflected, and the lunge causes them to switch sides again.
+
+NATHAN
+Sara, stop, I don't know who this is.
+
+KAY
+(sarcastically)
+Oh, I wouldn't remember my high school crush either. All the dates, all the hintdropping I totally forgot. The romantic stalking and kidnapping, moving in together, the training and fighting and life risking just totally slipped my mind.
+
+SARA
+Nathan, call Delta Jay.
+
+
+[[replace IMC with whatever fictional or otherwise realistic faction I want Delta Jay to be a part of]]
+KAY
+Why would you call him, he's *my* IMC liason.
+
+SARA
+Yeah, well he works for *me.*
+
+KAY
+Oh, that's a weird coincidence because he actually works for *me*, and I'm sure he'll send you hell once he finds out how much you've wounded me.
+
+SARA
+The IMC can't stop me.
+
+KAY
+And you can't stop me. I can't die.
+
+SARA
+Neither can I, bitch.
+
+NATHAN
+Holy shit. You're Kalani, aren't you?
+
+Sara and Kay stop to look at the naked femboy.
+
+KAY
+(sarcastically)
+Took you long enough, hi, it's your *girlfriend of two years.*
+
+NATHAN
+Fuck you, we got married two years ago!
+
+He points to Sara, whose eyes flit between her lover and Kay. Kay allows the Acriamative to fall as she gestures dejectedly.
+
+KAY
+Damn it, and I was just about to propose, too. I can't fucking believe this, I fucking knew I should have dated girls instead.
+
+Sara shakes her head in disbelief.
+
+SARA
+What?
+
+Sara combines her two sword whips into one warily.
+
+KAY
+My question is, how the fuck did you hide an entire marriage from me *and* manage to convince *her* she owns our house. I thought you were a genius, but apparently you're stupid enough to think I wouldn't find out about this shit.
+
+SARA
+Bitch, this is OUR HOUSE!
+
+The women glare at each other.
+
+NATHAN
+Stop, stop stop stop stop stop. Whoever you are, you're insane, Sara I would never cheat on you. I thought you decided to surprise me by- byf- byf- bfuckin tying me up, but is was her. She was raping me in my sleep.
+
+He points at Kay, opens his still tied hands towards Sara, stimming with his fingers and shaking his head. He very much speaks with his hands.
+
+Kay and Sara both lower their weapons slightly, hiding their eyes behind their hands in shock in a mini-facepalm. Nathan notices the similar response and looks confusedly at both of them.
+
+[[This line may damage the worldbuilding. She should be shocked that someone like her exists and that should probably be on the forefront of her mind. This line almost implies that her condition is normal, which it is not by any stretch of the imagination.]]
+KAY
+You're really going to lie to leave me for a fuckin panda. You just *love* telling the truth until you can find another fuck buddy.
+
+NATHAN
+I've never seen you in my life!
+
+KAY
+I've fucked you in the ass every night since twenty twenty two, you dumb whore!
+
+SARA
+You said her name though.
+
+NATHAN
+Yeah, you sound like Kalani, but I haven't talked to her for years.
+
+SARA
+Oh, Kalani the lesbian you- wait...
+
+KAY
+I'm sure as hell a lesbian now!
+
+SARA
+Put your dick away then, so my cheating husband can stop staring at it.
+
+Nathan blushes profusely.
+
+NATHAN
+Rape, rape, rape, she *raped* me.
+
+KAY
+Nathan, you *love* getting raped.
+
+NATHAN
+Oh my fff...
+
+He's lost for words. Sara and Kay watch him for a moment, but snap back to each other, their stares are no longer as hostile.
+
+SARA
+(confusedly)
+So clearly we've both had a lot of sex with Nathan without either of us finding out he was a cheater.
+
+NATHAN
+But that's not true! I can count on one hand the amount of times Kalani and I hung out, we never so much as flirted after sophomore year!
+
+SARA
+Oh, oh, but you *said* you fantasized about her constantly until we started hooking up. Turns out they weren't fantasies.
+
+KAY
+Damn right they weren't.
+
+SARA
+Fuck this.
+
+She gets up to leave, staggering as she clutches her bloodstained shirt.  Nathan grabs her.
+
+NATHAN
+Slow down slow down, stop. Please please please just sit down and rest. Untie me, I'll get my clothes, we can grab some soda and stop you from bleeding out. Sara look at me. You have to believe me. We're going to get an explanation from her.
+
+KAY
+Wait, Sara?
+
+Nathan and Sara look at Kay, who slumps down on the couch, her weapon clanging to the ground as she grips her side.
+
+KAY
+Nathan and I know a Sara, and she doesn't look like you. Something's gone horribly wrong.
+
+NATHAN
+Sara, sara, see? Untie me, untie me.
+
+She obliges, still staring at Kay. Nathan rushes back into the destroyed bedroom. Kay pulls what's left of her shirt down to cover up her still slightly erect cock. Sara looks away and pretends like she doesn't see it.
+
+SARA
+Sara's a very common name. I only know one Kalani.
+
+KAY
+You sound exactly like her though. We both went to Jordan, but didn't properly meet until Nathan invited us both over for a movie night. I thought you were pretty hot but I thought you two were dating, otherwise...
+
+[[i really like the idea of it intercutting with nafan getting ready and finding the pants and whatnot. could be a good comedic beat inbetween their dialogue if edited properly.]]
+
+NATHAN (O.S.)
+Oh, no way.
+
+SARA
+Thanks? Wait. Was there anyone else there? What movie did you watch?
+
+KAY
+I brought my best friend Ana over. Nathan had some of his friends.
+
+SARA
+We watched Alien and Aliens.
+
+KAY
+You watched Aliens?
+
+SARA
+Yeah, but you two left as we went to get ice cream.
+
+Nathan reappears fully clothed. He tosses Kay's PJs and boxers back to her.
+
+NATHAN
+I thought I recognized those pants. Cumberbatch grinch, not Carrey.
+
+Kay gets up to put her clothes back on. Her cock is still massive when flaccid. Sara turns away, but Nathan only pretends not to look.
+
+KAY
+It's ok to stare.
+
+SARA
+(growling)
+Not when it's you, it's not.
+
+Sara grabs Nathan by the arm and pushes him to turn away.
+
+NATHAN
+I'm the victim here, she raped me.
+
+SARA
+We all know you fuckin enjoyed it.
+
+NATHAN
+Yeah, when I thought it was you!
+
+KAY
+Guys, stop. We're all the victims of a misunderstanding, not rape. Nathan talks about this shit all the time.
+
+Cut to the three sitting down, fully clothed, besides the torn shirts and blood. Nathan's ballgag is replaced by a choker. Kay is on the corner of the sectional, Sara on one of the ends, Nathan on the ottoman inbetween them. The three of them sip sodas from the mini-fridge.
+
+/*
+alternate confrontation/realization
+
+NATHAN
+How come you two are the only two superhuman, humanoid lifeforms with conjurable custom weapons on this earth?
+
+(beat)
+
+KAY
+I got my powers because of you.
+
+SARA
+*/
+
+KAY
+What we're going to do is we're going to describe our relationship with the other two how we see it, I'll go first. I'm Kalani Lindsay Whitmore. I met Nathan at Jordan in freshman year, had a crush on him sophomore year. We texted and hung out a couple times during college, and I...
+
+She pauses.
+
+[[perhaps it's out of character to be as upfront as she is about this so this can be trimmed]]
+KAY
+I was very self-conscious about my weight. It was kind of... destroying my life. I pushed away my roommates and family and lived on my own, I was too depressed and anxious to go to school, I wasn't paying bills, all I was doing was exercising and eating. But I couldn't lose weight. It was like I was cursed. So I stopped eating. I starved myself, but my damn scale wouldn't move an ounce. I thought I was going crazy. One day I collapsed on the treadmill and blacked out. When I woke up, I was in another world. I was transformed, I wasn't human anymore. I had to fight monsters and survive, and all the while I knew he did it.
+
+She points at Nathan. Sara puts a hand to her mouth in realization.
+
+KAY
+I had powers. Super strength. My hyperhydrosis turned into something different. I still sweat a ton, but it wasn't gross anymore. I had healing powers. I can control things with my pheromones, I could knock things out.
+
+Sara and Nathan exchange glances several times. Nathan snaps incessantly.
+
+SARA
+I don't sweat very much at all, but I can do all those things too, it's just a lot harder.
+
+Kay nods.
+
+KAY
+Hang on. So when I finally found out how to return to this world, I started stalking him. Found his streams, twitter, everything. My entire life was all about figuring out how to live with my new form and figuring out everything about him. That and... anyway, I was obsessed, I wanted to own him. /*I began to sneak into his house in the dead of night and...*/ Well eventually it drove me insane and I wanted to be with him in person, so I devised a way to use my pheromones to trick people into thinking I looked completely human. Doesn't work on video obviously but anyone who was within a couple feet of me saw me as how I used to be. I went to his work with a mask and sunglasses to hide most of my appearance, walked right up to him and...
+
+She sighs. Nathan stims by bobbing his leg and swilling his soda around in the can. Sara similarly bobs her leg.
+
+KAY
+Eventually I snuck into his house, we had a consensual kidnapping, it was really romantic and hot, he loved it, he always loved being put in his place by me. We dated ever since. We moved in together, he told me how he thought my powers worked, we trained together, took up vigilantism, got picked up by the IMC, eventually we worked out a deal where they supported my efforts and sent me on missions while Nathan stayed at home being a boywife. I was going to surprise him with another kidnapping and proposing to him... somewhere special, I don't know. Now I'm not even sure if that was real or anything because you don't remember at all, and...
+
+Her voice breaks, she looks away. A pause.
+
+NATHAN
+So I did think you were crazy, then I thought you were a figment of my old fantasies that manifested itself physically to destroy my life and marriage, and now I think you're from an alternate universe where what happened to Sara happened to you somehow.
+
+KAY
+*There's* the shit Nathan always talks about.
+
+Sara fidgets with her ring.
+
+SARA
+I thought I was special.
+
+NATHAN
+You are, of course you are. Even in an infinite multiverse.
+
+KAY
+Ok, Sara next. I met you at a movie night he invited us to years ago, I knew Nathan always really liked you, you were friends for ages, made animations together, you're working on a TV show. He always insisted you were just friends but I knew he would fuck you in a heartbeat given the chance. Can't blame him, you're hot.
+
+Nathan groans and stims harder, shaking his head.
+
+NATHAN
+Oh, this is weird, Kalani is telling me my wife is hot and I haven't fucked her.
+
+KAY
+Well, where I come, you haven't. *Yet.*
+
+She growls the last word. Sara scowls.
+
+SARA
+How am I supposed to take this? How do I know you're not making all of this up?
+
+NATHAN
+Hang on here, let's just assume this theory is correct. Occam's razor may not whittle away the multiverse explanation, I don't have any better way of seeing this. We basically have to find out which one of us doesn't belong here.
+
+KAY
+Sara, you next. How do you know Nathan? Pretend you know neither of us and describe it as though we're new people entirely.
+
+Sara looks at the others, scowls at both and sighs.
+
+SARA
+We met at CTEC. Became really good friends. I knew him for several years. He always knew how to rile me up, but he had a way with words. Helped me through a breakup after a four-year relationship. I needed a lot of time to get over it, but all the while I was fighting feelings for him. Needed him really bad. Vented it out by going to the gym. One day I came home and...
+
+She shakes her head and sighs.
+
+SARA
+Same thing as you. Collapsed, was in another world, fought my demons, came back, fucked his subby brains out, proposed, married, became a superhero, yada yada.
+
+Nathan gets up and puts his arm around her. She tenses up, but doesn't stop him.
+
+NATHAN
+And how do you know Kalani?
+
+SARA
+(reluctantly)
+Same as you, she's the lesbian who you were obsessed with in high school and college.
+
+NATHAN
+I- no, she just-
+
+KAY
+It's true, you were obsessed. You told me your fantasies about dicks caused me to manifest one.
+
+Sara grins, slapping his thigh.
+
+NATHAN
+Oookay, glad we're on the same page here, anyway, I knew Kalani in high school, she was terrible at keeping contact and I was always second-guessing how much she wanted to talk to me, even after hanging out a couple times. She... ended up showing some red flags. And she liked girls more anyway so we drifted apart.
+
+KAY
+Okay, I think the difference is that I went to the Sanctum first and became obsessed with you, while your Kalani was never sent to the Sanctum in the first place.
+
+NATHAN
+She's not *my* Kalani.
+
+SARA
+Our *universe's* Kalani.
+
+NATHAN
+Your personality is entirely different from our universe's Kalani though.
+
+KAY
+Yeah, I've been through a lot. You stopped talking to me when I was like, twenty.
+
+NATHAN
+No, *you* stopped talking to me.
+
+KAY
+You should really hit me up sometime, like right now actually. Am I still working, did I get the hospital job, or am I in social work? Am I still single? Did I finally have gay sex or did I never find someone in Utah gay or desperate enough to be willing to scissor me?
+
+NATHAN
+Now *that* sounded a lot like you except for the gay sex part.
+
+KAY
+Oh, you'd be surprised, I miss the idea of pussy so much.
+
+NATHAN
+Getting warmer.
+
+SARA
+Okay, you can fantasize about selfcest on your own time. What I want to know is what your dick was doing in my husband.
+
+[[i feel like "was a pussy" is too aggressive and would warrant a reaction/interruption. i would probably trail off for a second and explain it less aggressively to be diplomatic]]
+NATHAN
+Well, I mean, it makes sense. Kalani was a... well she couldn't propose to me as early as you did, but we still were just as together as you and I. We've got similar sexual tastes and a similar relationship... uh, dynamic, it's no wonder that I would wake up getting railed, tied up, and gagged...
+
+This distracts the ADHD trio. Then they remember one of them is from a different universe. Sara hits Nathan.
+
+SARA
+Anyway...
+
+NATHAN
+Anyway, your cock was amazing.
+
+Sara glares at him and hits him again.
+
+NATHAN
+I mean just as good as Sara's if not- I mean I thought it was her until I recognized your voice. Well not recognized. Just knew it wasn't hers.
+
+KAY
+You really are the exact same, you sub. I just wish I could uh... I mean you're not my Nathan so whatever. I'm just happy you're happy I guess. Though if I were in a universe where you were still me and not someone else I'd totally be down for a three-way.
+
+[[i don't think they're at the hitting level, more likely she would jolt forward to try and hit her seriously]]
+Kay points at Sara, who bristles at her statement and jolts forward, causing Kay to flinch. Nathan hides his face in Sara's big furry tail.
+
+KAY
+Sorry, I can't help myself around him! Surely you feel the need to dirty talk too!
+
+SARA
+Not when his alternate dimension crush just fucked my sloppy seconds and tried to kill me.
+
+NATHAN
+Sloppy seconds?! We're married!
+
+KAY
+And I don't want to get inbetween you obviously, I thought I was fucking my boyfriend for like the seven thousandth orgasmic time.
+
+SARA
+And I thought some bitch was stealing him from me.
+
+NATHAN
+And I thought I was getting pulverized by my wife's 10-inch monster cock, we get it. None of us did anything to purposely hurt the others except you two. Clearly we were all thinking with the wrong head. Or no that was just you two and your cock measuring contest for who has the coolest weapon, by the way, it's Sara, sorry Kay, no chance, but if we're going to have a cock measuring contest I prefer one that doesn't involve two of the most powerful humans in existence bleeding out fighting over me. Actually, how big is your cock?
+
+SARA
+Nathan!
+
+Another love tap ensues. Probably a little harder. Kay grins, shifting her weight a little nervously.
+
+KAY
+Eight flaccid, ten erect, twelve on viagra or a good day.
+
+NATHAN
+(overcome)
+Oh, fuck me.
+
+SARA
+(gritting teeth)
+That's *my job.*
+
+Nathan jumps up.
+
+NATHAN
+And who am I to leave my wife unemployed? Anyhow, I say we go get some McDick's. Both of you must be starving and you've got cells to regenerate. I'll get the keys, babe.
+
+[[really needed to be said]]
+SARA
+We're not going anywhere until we find out where she's from, why she's here, and how to get rid of her. She could still be lying about all of this.
+
+KAY
+I can't lie with him in the room, he's not mine, but he's still Nathan.
+
+NATHAN
+That's- okay. Oddly familiar.
+
+He sits back down.
+
+SARA
+Stop doing that. This has to be some sort of hit operation. The IMC augmented someone to come in as an actor to either kill me or sabotage our marriage.
+
+KAY
+How would the IMC know about our trust pact thing?
+
+SARA
+He's always going off about honesty. Delta Jay must have known and snitched.
+
+KAY
+Oh! They don't know he has a rape fetish.
+
+NATHAN
+Don't put it that way.
+
+SARA
+Even if you *are* from another universe, why come here to fuck someone else's husband?
+
+KAY
+I *didn't,* I wouldn't. I like my boyfriend all to myself and I wouldn't steal someone else's, it'd kill him. I woke up here, right on the couch. Thought it was my house.
+(beat)
+
+SARA
+But how did you get there.
+
+KAY
+Maybe I dreamed too hard. Maybe this is a dream borne out of my insecurities knowing he'd be with you given the choice. All I know is I woke up horny and all three of us can't blame each other for that.
+
+Nathan makes a confused noise.
+
+SARA
+Ok, fine. If you got here by sleeping, you can leave by sleeping. Can I kill you?
+
+NATHAN
+Consent is key.
+
+KAY
+Bitch, you can try. I was winning anyway.
+
+SARA
+As if. I'll send you back right now.
+
+She resheathes only a small section of her resting weapon; a single stealth knife.
+
+NATHAN
+Let's... not be too stab-happy. Even if you can kill her and she doesn't come back, how do you know that she's returned and you haven't just killed her?
+
+KAY
+Yeah I don't wanna die, not without cumming first.
+
+SARA
+Find someone else to help you with that.
+
+NATHAN
+Help! Of course, we'll take her to the IMC ASAP after mcdeez. They'll be fascinated with her, remember the Lab, Sara?
+
+Sara squints with frustration upon remembering. Nathan gets up again.
+
+SARA
+I try not to.
+
+NATHAN
+Ok, that's a deal! This is going to be the best magdondal trip yet. I can ask you all about your universe and how it's different and how it's the same, just amazing!
+
+He prances out of the room, sipping his soda.
+
+NATHAN
+(laughing)
+Oh, merry fuckin' Christmas!
+
+Both women follow his ass with their eyes, and then they quickly snap to each other.
+
+SARA
+I'm a master of stealth. Try to fuck him again and I'll kill you. What's more is that he'll probably let you and then I'll divorce him and he'll die alone.
+
+Kay gets up, examines her bloody shirt, and sheathes the Acriamative as she talks, taking several steps away from Sara.
+
+[[Something in this conversation needs to address how she got there in the first place and therefore how to get her back. Perhaps after MCD they go to delta jay or perhaps nafan and sara already figured out something though that's less likely]]
+
+KAY
+And then when I figure out how to return to my universe you'll get lonely and ressurrect him, I get it. He's all yours. Though the offer's still on the table, he always said you were secretly bi and I'd fuck the shit out of both of you in a heartbeat.
+
+Sara's weapons disappear from the floor as she unsheaths them into her hands. Kay knows the sound well.
+
+[[her attitude is a bluff. she's secretly extremely wary of someone with her abilities being an enemy, but that's not on the forefront of her mind because she knows that them fighting again won't happen if Nathan is there.]]
+KAY
+I know I drive a hard bargain but suit yourself. I know my Nathan wouldn't mind.
+
+SARA
+(grumbling)
+That's what I'm afraid of.
+
+Kay starts to head upstairs. Sara quickly unsheaths her weapons and pushes past her.
+
+SARA
+This is my house. Don't act like you own it.
+
+KAY
+Force of habit, not sorry.
+
+NATHAN
+Enough of this toxic femininity, let's get in the car.
+
+Hard upwards pan to Nathan swinging Sara's lanyard above the stairs from his position at the handrail. He heads off in the direction of the garage.
+
+SARA
+Oh no you don't. I'm not letting you drive for at least half a year after tonight.
+
+NATHAN
+You can't just do that to me, this wasn't my fault!
+
+Sara approaches him into the great room and takes the keys from him.
+
+SARA
+(under breath)
+Well clearly you're enjoying it. Punishing you with no sex punishes me, so I'm taking away your freedoms until you get a better attitude.
+
+He ignores her lowered tone. They walk to the garage.
+
+NATHAN
+My attitude is great, I'm just a little horny.
+
+SARA
+Little horny bitch.
+
+KAY
+Can't blame anyone for being horny. We've all been there. 24/7.
+
+NATHAN
+Your honor, my client would like to plead horny on all charges.
+
+SARA
+Guilty. Sentenced to 6 months no driving privileges.
+
+She opens the garage door and they step out.
+
+NATHAN
+No fair. I move for a mistrial!
+
+KAY
+Can I be on the jury?
+
+[[SARA
+You can be on the next train to your own dimension.
+
+Kay notices their car. 2020 Toyota Highlander.
+
+KAY
+Shit, my Nathan and I have a White 2022 Toyota Camry. I guess I would have had a lot of questions if I had come in here before...
+
+NATHAN
+I expect there will be a billion and a half differences to point out between here and your home universe!
+
+He answers passionately but is visibly displeased at having to ride shotgun. They sit down, Kay in pursuit. As Kay walks towards the back, Sara notes Nathan's expression but keeps her eyes on Kay.
+
+SARA
+(quietly)
+Don't be so mad about it, you ride shotgun most the time anyway.
+
+He once again ignores her quieted tone.
+
+NATHAN
+Well now I'm thinking about the fact it *could* have been a possibility and I'm being punished for something I didn't do.
+
+Kay gets in the back and scoots into the middle. She's looking relatively pleased with herself, watching the couple.
+
+KAY
+Come to think of it there's probably tons of details within the house I didn't notice due to my grogginess. Y'all probably have tons of things we don't.
+
+NATHAN
+Do y'all have McDonald's?
+
+KAY
+Of course, why would that be any different?
+
+NATHAN
+What part of infinite don't you understand? Just because you happen to know two people in this entire alternate world doesn't mean everything else would be the exact same.
+
+KAY
+Alright, what is different then?
+
+Sara starts the car grumpily.
+
+NATHAN
+Well, we've already been over how different our lives are, which has a cascading effect on a lot of things, but literally anything else could be different. The existence of business, of notable historical figures or events, all sorts of things could be different. Did y'all have 9/11? The Holocaust? Covid? Antifa?
+
+KAY
+Sounds familiar. There's gotta be *something* else that's hugely different, right?
+
+NATHAN
+We can only find out through exploration. I would think that the differences we've already experienced imply there could be other quite notable discrepancies. Stuff well beyond the atomic level. Oh! We could have shown her your suit! I'm sure there are many differences-
+
+SARA
+(growled)
+There is no way in hell that's happening.
+
+KAY
+I do have a suit tailored to my needs and powers. Custom built and designed by the IMC.
+
+NATHAN
+I was gonna say, I was assuming you also had one.
+
+KAY
+Of course, can't live without it. I wear it at home all the time just for the AC.
+
+SARA
+Yours has AC?
+
+KAY
+Yours doesn't? How do you deal with hyperhydrosis?
+
+SARA
+What?
+
+NATHAN
+Sara doesn't *have* hyperhydrosis.
+
+KAY
+Doesn't that make your healing powers less effective? Me sweating so much is how I can get enough fluid to revive someone. I literally have a tank on my suit for it.
+
+Nathan and Sara exchange glances.
+
+NATHAN
+A tank?
+
+KAY
+Yeah, it collects my sweat, I'm exercising so it's a lot, it fills into the tank and I can mist it onto people. Are you not a combat medic like me?
+
+SARA
+My powers don't work like that.
+
+NATHAN
+Yeah, they're more just pheromones. The IMC gave her these little syringes for some healing but they really just introduce the fluid into the person's system if we *really* need them alive.
+
+KAY
+*Need* them alive? You don't try to save as many people as possible?
+
+SARA
+The IMC doesn't care about saving everybody. That doesn't mean I don't try, but they tie my hands. Sometimes literally.
+
+KAY
+This is so interesting. You're telling me you can't just juice them and they'll wake up in a couple hours?
+
+SARA
+No, it does work that way, but I don't have enough juice. *You* try collecting your own saliva samples to fill a single syringe. It takes ages. Anyway we shouldn't be talking about it, they'd have a fit if they knew I was *exposing* their secrets.
+
+She finishes the sentence mockingly, obviously frustrated with the organization.
+
+KAY
+Wow, for once in my life I'm glad I have hyperhydrosis. It's really the reason why I can help people. I only wish I could help more, but even all the sweat I produce isn't enough to help everyone. It's a blessing and a curse, to know that I could cure anyone of anything, including death itself, but that I will never be able to do so with everyone.
+
+Small silence.
+
+NATHAN
+You can revive corpses?
+
+KAY
+Not like that! But yes. The IMC determined submerging remains, no matter how damaged, into the Juice, caused them to regenerate as long as there were enough nutrients. This was insane, they created a vat of the Juice mixed with nutrients, mainly protein, and tossed, well. They tossed all sorts of things into it but we straight up brought back someone's cremated remains. Like there was someone in the lab who had seen us revive animals, secretly sprinkled the urn in there, in just a couple hours his mom was back. Naked of course, but in her prime. She was hot by the way. She remembered everything.
+
+NATHAN
+Holy shit.
+
+KAY
+Yeah so you can imagine how insane that was. After the fluid in her lungs ran out enough and she could speak, she had a lot to say. Her son... well you can imagine. Hysterical. I'm not sure what he even expected, but it must have been... really something to see your mother back, younger than you. I haven't even spoken to mine since...
+
+Silence again.
+
+SARA
+I never knew that was possible. The only thing that's stopping me from saving people like that is enough Juice?
+
+NATHAN
+We don't know that. We don't know the extent to your powers.
+
+SARA
+Well I want to find out. We're bringing you to the IMC and you're going to help them help me save people.
+
+KAY
+You can't demand that of me, I can't stay here forever. I want to go *home*, to *my* Nathan.
+
+NATHAN
+(to Sara)
+For all we know, that's not even how it works. She might have a limited amount of time here.
+
+SARA
+All the more reason to get here over there right now. Seriously, let's start now.
+
+NATHAN
+The IMC is not going to be excited to learn about freaking quantum anomalies causing accidental interdimensional travel. And if they were, it'd be because they want to weaponize it.
+
+KAY
+I'd hate to see them with that.
+
+NATHAN
+You and me both.
+
+They stop at a red light. Sara glares at Kay through the rear view. Kay purses her lips in response.
+
+SARA
+I don't think they're even capable of that but that's not the point. Who cares if you can't be at home with *your* NATHAN.
+
+She makes this remark with utter disdain. It is not subtle.
+
+SARA (CONT'D)
+If you could save a single life and all it cost was being away from him, how long would it take for you to cave?
+
+KAY
+I don't think you understand. I really love him. I can't live without him.
+
+SARA
+(growled)
+Maybe that means you *need* to spend time away from him.
+
+NATHAN
+I can't help but feel like-
+
+SARA
+It's not your turn to speak.
+
+==
+
+EMPLOYEE
+Uh, are you guys alright?
+
+She notes the strange colored blood all over the two humanoids. Nathan has also been stained on his hands.
+
+KAY
+Normal Tuesday night.
+
+NATHAN
+It's not even Tuesday.
+
+He had to check his phone to make sure. It's actually an early morning on a Wednesday; Christmas 2024.
+
+==
+
+[[her return to her original universe is indicative of how much the experience changed her. rather than returning to do honry things to nafan in his sleep, she wakes him up, something he normally hates and thus she would never do, to ensure he knows who she is and that they're actually together. He's confused but gives her the information she needed, she sleepily says she'll tell him in the morning.]]

kay/idea.txt

@@ -0,0 +1 @@
+Perhaps the yet unnamed government administration was created to combat domestic terrorism federally. Perhaps it was enacted by a previous Republican administration, Reagan, Nixon, or Bush, but later weaponized by a more radical Democrat president, to intentionally fund domestic terror as a Democrat-empowering effort, which is EXACTLY what Democrats love to do, until Jan 6th...

kay/kayidea.fountain

@@ -0,0 +1,155 @@
+Title: kayidea
+Credit: Written by
+Author: Nathan Lindsay
+Notes:
+
+/*2022-06-26 idea from https://youtu.be/FN3aYDowPEk where she says "you're a man you can't touch me" to an officer arresting her after abusing her boyfriend...*/
+
+EXT. SEATTLE ROOFTOP
+/*not sure if seattle. just seems about right.*/
+
+Kay stands atop a roof, clad in her newly-upgraded armor. The violent demonstrations will be a ripe testing ground for the prototype system. She activates the seal on her helmet.
+
+DELTA JAY (OVER COMLINK)
+You enjoying the on-board A/C?
+
+KAY
+I have never felt more comfortable in my life. Including before I had fur, and I thought it was good during the trial runs!
+
+DELTA JAY (OVER COMLINK)
+Glad you like it. Took us a hot second to work out. Attempting to relay communications with your HUD system.
+
+KAY
+You know, I kind of feel like not switching it on...
+
+DELTA JAY (OVER COMLINK)
+Deactivating cooling system.
+
+KAY
+Hey, hyperhydrosis is no joke, you can't just do that!
+
+DELTA JAY (OVER COMLINK)
+(laughing)
+I'm just happy we finally found a way to control you.
+
+.KAY IN-HELMET POV
+
+The HUD system boots up. We see indicators for her new arm canisters being 15% full each, and her main tank being empty. As they speak, Kay interacts with an augmented reality prompt with a flair, tapping it with her middle finger. Intel is downloaded and processed, and a beacon with a distance indicator appears in sync with Jay's briefing.
+
+KAY
+Don't push your luck. You better just be grateful I support the cause.
+
+DELTA JAY (OVER COMLINK)
+On that note, it appears our reconnaissance data has been successfully relayed. We've placed a tracker on a van we believe to be carrying weapons and ammunition, operated by antifa militants planning to carry out an attack on businesses and churches in this area. Do you have visual on the beacon?
+/*antifa is a placeholder for this group. i haven't gotten enough flesh on them and their motivations yet, so I'm not sure of a name quite yet.*/
+
+KAY
+You're going to make me go *all that way*? Very kind of you to drop me off at a building 2 miles away.
+
+Her dismay is punctuated by her gesturing with her hand.
+
+DELTA JAY (OVER COMLINK)
+If you could look at the indicator, it's only around seven hundred meters. Not even half a mile. Besides, you've got sweating to do.
+
+/*could make him say something like "not even half a mile to you americans" but I'm not sure if I want to make him european after jay exci or what. idk i only invented him today*/
+
+EXT. SEATTLE ROOFTOP
+
+Kay plops herself down on the edge of the building and leans back, lounging.
+
+KAY
+I feel really exploited. Maybe antifa's right. I think I'm actually going to be switching sides, nothing personal!
+
+DELTA JAY (OVER COMLINK)
+Cut the sarcasm and get to the mission.
+
+**SSSH-KLANG!** Kay summons the Acriamative without hardly moving from her lounging position. Its blade and skull gleam in the starlight.
+
+KAY
+No, I'm serious, I really feel like causing massive amounts of property damage.
+
+Jay sighs as Kay laughs, tossing her weapon in the air, flipping backwards and landing to catch it.
+
+DELTA JAY (OVER COMLINK)
+Just keep it contained in the van...
+
+Kay detatches her shoulder plates from the Acriamative and tethers the plates to the sword itself with an eight foot carbon fiber cable.
+
+KAY
+Hah! No promises.
+
+She winds up, squatting low to the ground, and launches herself into the sky. She laughs in exclamation.
+
+.KAY IN-HELMET POV
+
+We see her rapidly approaching the augmented beacon, the distance indicator, in meters, counting down rapidly.
+
+EXT. SEATTLE NIGHT SKY
+
+As she reaches the top of her arc, she winds back once again, this time with the Acriamative, which she hurls with precision like a Javelin at the ground. In a flash, she grabs the cable, which becomes taut and jerks her towards the ground at a lethal velocity. Evidently, she's had practice.
+
+She lands painfully on a rooftop. Painful for the rooftop, really. Large cracks form on the concrete surface. The acriamative had impaled itself into the ground, Kay rolling, seemingly bouncing, and spinning upward into the air again, pulling the Acriamative with the cable and catching it in a graceful landing.
+
+.KAY IN-HELMET POV
+
+Kay turns around to observe the damage. A small amount of dust settles.
+
+DELTA JAY (OVER COMLINK)
+I said to keep it contained.
+
+KAY
+Excuse me if Acriamative travel is as hard as my dick right now. At least I didn't cave it in this time.
+
+EXT. NEW ROOFTOP
+
+Kay leans over the edge of the roof. The van is parked on the curbside of a deserted side road. Two dissidents, a male and a female, are having a smoke on the curb in rear of the van.
+
+DELTA JAY (OVER COMLINK)
+The van could be in movement any second. Luckily, they're not likely to have picked up their fellow terrorists yet. Secure the vehicle and the dissidents. Don't be afraid to use your sidearm if need be. Once your canisters are full, you can administer medical aid.
+
+KAY
+Assuming they work.
+
+DELTA JAY (OVER COMLINK)
+They were operational during trials, no reason they shouldn't be now.
+
+KAY
+You don't know that. I really don't want to kill anyone today. Or ever.
+
+DELTA JAY (OVER COMLINK)
+I'm sure the 2 ton sword will do nicely then.
+
+Kay sighs, shaking her head. She detatches her cable and it automatically coils into a compartment on her hip.
+
+KAY
+Not even at twenty percent. Whatever, it's fine.
+
+DELTA JAY (OVER COMLINK)
+Actually, I'd prefer you aim on testing it today. We could use the data.
+
+KAY
+Yes! *Or,* I could shoot *you* and wait through an hour or two of your suffering before testing.
+
+DELTA JAY (OVER COMLINK)
+Kidding. I'm not as bad as some of my peers.
+
+KAY
+I'll let them know.
+
+She stands and walks off the building, landing behind the dissidents, who jolt onto their feet.
+
+FEMALE DISSIDENT
+/*She's supposed to shout some nickname her ilk has coined for Kay. Not sure what it should be. The ____ or something.*/
+
+The MALE DISSIDENT rushes to the front of the van, keys in hand. Kay kicks his feet out from under him and he crashes to the ground, keys sliding away. The Female Dissident takes the opportunity to fling the van doors open. Kay leaps atop the van and moves to attack, but a shotgun blast to the chest blindsights her. Her armor is relatively unscathed, but with a visual pellet spread of dents.
+
+Kay tackles the dissident, elbowing her shotgun down and pinning her to the ground. She struggles, pounding her fists against Kay's armor uselessly.
+
+FEMALE DISSIDENT
+(shouted)
+FASCIST! YOU'RE A MAN, YOU CAN'T TOUCH ME!
+
+Kay silently gets up, bringing the dissident with her and then shoving her to the ground with her left hand. Her right, still carrying the Acriamative, impales it into the ground on the dissident's right. She walks up to the terrorist, moving her fingers in a way that triggers the transparent bit of her helmet to roll up. Her foxlike face smiles pleasantly down.
+
+KAY
+Actually, I use she/her pronouns. So what are you and your boy planning to do with all this *juice*? I heard you didn't pack any clay pidgeons.

kay/sex.fountain

@@ -0,0 +1,361 @@
+Title: _sex_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: various dates notes app
+
+/*note created 6-19-21 10:41pm, fountained 7-6-21*/
+The two of them collapse into bed, overcome for their lust for each other.
+
+INT. BEDROOM - MORNING
+
+Kay is licking Nathan, waking him up.
+
+NATHAN
+Again, Kay?
+
+Kay laughs and settles back to her regular cuddling position of crushing Nathan under her weight.
+
+beat.
+
+NATHAN
+Who topped last night?
+
+KAY
+Who do you think?
+
+NATHAN
+I can hope?
+
+He doesn’t sound convinced, himself.
+
+KAY
+As usual, you were begging for it.
+
+NATHAN
+Oh, stop, my masculinity can only take so much.
+
+KAY
+(mock-moaning)
+Oh yes Kalani, crush my prostate with that fat co-
+
+Nathan forcefully stops her mockery with a hand to the mouth.
+
+NATHAN
+I swear, next time I’ll top with my hands around your neck.
+
+KAY
+I’m down! Always have been. I’ll give you all the time you need, I know it can be tough coming out as straight.
+
+NATHAN
+Nah nah, not with that again this has always been a strictly straight relationship.
+
+KAY
+Oh, you’re so cute when you cope. Not only is this the gayest relationship since /*something that works in this context idek. not like this took much effort or is going anywhere anyway...*/ and not only am I the top, I’m also the boyfriend.
+
+NATHAN
+Cry about it. Not my fault you have a perfectly fat cock.
+
+===
+
+/*noted 10-9-21 8:15am, fountained 10-13*/
+KAY
+Oh, just keep the hoodie off for once. You know I love it...
+
+NATHAN
+Yeah, well, tough titties.
+
+KAY
+Yes?
+
+NATHAN
+What?
+
+KAY
+Well you did just say my full name.
+
+INT. BEDROOM - LATER
+
+KAY
+Oh no, now he has pants on, what a disaster! You know this really isn’t how I expected this evening to go.
+
+===
+
+/*noted 10-21-21 4:15pm, fountained 11-4*/
+
+NATHAN
+You’re more than I can wish for.
+
+KAY
+Keep wishing. Never stop.
+
+/*I think the implication here is that if I wish enough and hard enough then she will manifest. Also it’s like a different feeling because you normally say you’re more than I could have wished for, or all I ever hoped, but when you don’t have someone, the person that doesn’t exist that you say that to frames the conversation a bit differently.*/
+
+===
+
+/*
+noted 11-26-21 @3:38am, fountained 11-23
+
+context is nafan requested kay’s hormones to sleep, she gets excited because this means she gets bussy all night
+*/
+
+NATHAN
+what are you, some kind of necro?
+
+KAY
+no, *somno*, get it right!
+
+===
+
+/*noted early morning 2-14-2022, fountained later that evening*/
+
+NATHAN
+Kay, breaking and entering because you’re obsessed with me is neither legal nor romantic, I mean, what if I’m not into that?
+
+KAY
+It wouldn’t matter that you’re not into it, because I am, and of course my feelings *actually* matter in this situation...
+
+Her tone is confusingly half-sarcastic, her classic tone. Kay takes a step closer, beginning to blush.
+
+KAY
+(embarrasedly)
+And what if you *are* into that?
+
+NATHAN
+That’s besides the point, it’s totally weird and utterly disturbing for you to just sneak or break into my house and stand in my room watching me sleep. And illegal! Don’t forget illegal.
+/*i think i was meaning to stress the lawlessness part a bit more to make kay's response make more sense*/
+
+KAY
+Nathan, you pirate digital media constantly because you “can’t afford” it.
+
+NATHAN
+Well, you can disobey the law if there are enough moral strings attached. Sometimes there’s no good alternative for paying thousands of dollars for the sims other than piracy. Though you don’t have any proof I do pirate.
+
+KAY
+You literally tweeted out advocating the piracy of everything published under EA one hour ago. I thought you knew I constantly stalk your socials.
+
+Her face goes red with excitement at her last sentence, clutching at her iPhone 11 with obsessive glee.
+
+NATHAN
+I should probably delete that.
+
+As Nathan reaches for his phone on his side table, Kay quickly edges her hip in to block his hand’s path. Nathan flinches.
+
+Kay pounces on Nathan’s bed, staring seductively into his eyes. He stares back, terrified. The imagery of a fox having cornered its prey is evident.
+
+KAY
+Are there enough “moral strings” attached here for you to forgive my crimes this evening? I really meant no harm!
+
+===
+
+/*daydreaming at work on like 2hr50min sleep due to far cry 2022-03-28*/
+
+**Megapleggs**
+
+INT. MEGAPLEX JORDAN COMMONS SOUTH CONCESSIONS
+
+Nathan is working on the southest of south concessions, folding Pizza Hut boxes methodically. Swish, crunch, stack. Swish, crunch, stack. He's 5'9, somewhat skinny, in all black, purple shirt, black apron, in classic Megaplex Food Team fashion. A black baseball cap bent out to look like a flatbrim covers his recent buzz cut. He sometimes speaks with a stutter and a sputter, suffering from situational anxiety (is that a real thing?). He whispers to himself like a schizo and doesn't notice...
+
+Kalani walks briskly from one end of South to the other, eyeing her prey with a strange smirk quivering on her lips, like she's holding in a laugh. She's very pale, and very human, for now; about 5'8, chubby, a brownish redhead with a big forehead. She's a little sensitive about those last two. She leans over the counter to Nathan's left and watches him for a moment, fidgeting.
+
+A red and black **aura** emits from her as we see Nathan continuing his work with her out of focus in the background. Outside the depth of field we see her turn to an orange blob with her eyes red and glowing. The swish, crunch, stack of the boxes *descends in to an extreme reverb* as blob-Kay's **aura** goes faster and her fidgeting intensifies.
+
+He eventually checks the empty Monday Morning lobby and catches the (definitely human) vixen eyeing him from across the counter. A surprised smile breaks across his face, and he subtly tenses up. Kalani throws up a peace sign, still with her own struggling smile.
+
+NATHAN
+Oh, hey!
+
+KALANI
+Was wondering when you'd see me.
+
+NATHAN
+Listen, the box thing is very rhythmic. Morning shifts are a ghost town anyway.
+
+KALANI
+Rhythmic.
+
+NATHAN
+(exasperated)
+Yeah, okay. What are you here for, anyway? Really great to see you!
+
+KALANI
+Oh, you know, just hanging out.
+
+NATHAN
+So, loitering?
+
+KALANI
+(sarcastic)
+Yeah? It's a valid career choice, what about you?
+
+NATHAN
+Well I work here, too, my job's the same as yours, just getting paid to stand around pretty much. Started a couple weeks ago. Though I got sick for thirteen days straight so I guess I've not really been here too long.
+
+He works on the boxes as he talks, slower this time due to the new activity to focus on.
+
+KALANI
+(sarcastic)
+Yeah, just gonna pretend that's not new information to me. Did you have Covid?
+
+NATHAN
+Nah, doctor gave me antibiotics, so it must have been bacterial. Longest time I've ever been sick though, sucks I couldn't make more money but that's why I'm taking every shift I can.
+
+KALANI
+Oh, that's good. Being the shift-taker definitely requires a girlboss.
+
+NATHAN
+A girlboss who forgets about her shift and doesn't go to sleep till 5?
+
+KALANI
+Turns out you're a guy after all.
+
+Nathan chuckles shyly, shivering slightly.
+
+NATHAN
+I knew I shouldn't have done it, but I only had so long for the free weekend for a freaking video game. I was sleeping through my alarm for fifteen minutes, probably going to go straight to bed when I get home.
+
+KALANI
+Yeah naps! We should take a nap together!
+
+NATHAN
+Huh?
+
+KALANI
+Oh you know, just two friends napping together at the same time in the same bed, don't make this weird.
+
+NATHAN
+(sputtering)
+Okay... What are you here for again?
+
+KALANI
+I wasn't kidding, I'm hanging out, loitering. You get off at 6:30 and then we can go to your house?
+
+He's a bit overwhelmed at this point. Holding back tremors.
+
+NATHAN
+4:15. I don't know about *that*.
+
+KALANI
+Why not?
+
+NATHAN
+I don't want anybody else in my room. It's dirty and kinda loud. I wear earplugs to sleep.
+
+KALANI
+Even at night?
+
+NATHAN
+Well yeah I got computers in there. Oh, yeah, it's also really hot, so you're definitely never going in there.
+
+Kalani makes a duck face for half a second, puckering her lips happily in response to Nathan's remembering her dislike for heat.
+
+KALANI
+Oh, you don't turn them off when you sleep?
+
+NATHAN
+No, they're always doing tasks.
+
+He hits his hand on the counter jokingly, pressing an invisible button with his palm, mimicking an alarm sound. *WAH!* He continues talking as though nothing happened.
+
+NATHAN
+Emergency meeting! Yeah they're crypto mining 24/7, sometimes downloading or uploading or hosting server or something. Our internet's ... not great.
+
+KALANI
+(interested)
+Oh, crypto? How's that work? I hear it's not... particularly environmentally friendly, can you even afford it?
+
+NATHAN
+Yeah so basically I have several systems, the GPUs in them can run games but they can also be used to run procedural programs executing tasks like crypto, it takes a pretty big power bill but it slowly makes money. Bit of extra pocket change for hardware I already own, it was my entire income when I was only doing school, but it's really not much. 'Course I don't pay the power bill, but my parents don't mind. That or they don't understand it, I dunno they've never asked.
+
+He pauses and makes a wide eyed grimace, as if to say *'may be a problem...'*
+
+NATHAN
+Anyway I already had the hardware because I did a lot of gaming, schoolwork, other projects on those systems or I scrounged them from the DI or facebook so it's not obscenely expensive. Anyway Twitter hates crypto and NFTs for a lot of reasons but the entire "bad for the environment" thing is pretty exagerrated. All it takes is electricity, that electricity could be used to power houses, vehicles, other computers or game consoles, its environmental impact depends on where it comes from. It could come from wind, solar, nuclear, or literally just burning coal. Or any combination of those, probably a combination. It's funny 'cause the same people won't bat an eye at the entire power grid using power from a coal plant, so the electricity used anywhere has the same likelihood of getting its power from literally creating carbon emissions. The same people will say, 'stop whining about gas prices and get an electric car' and not even realize that the manufacturing process to make those cars has a carbon footprint that's probably more- er- or at least in the same ballpark as just using a normal person car or a hybrid. I mean you use both gas and electricity, right?
+
+KALANI
+(sarcastic)
+No, I live in a hut and I grow wings to get to work.
+
+NATHAN
+Okay, shutchamouth. Hot pocket isn't a frig'n prius tesla funny car. Anyway here's how I see it: we all have a carbon footprint, none of it will ever amount to that of India and China, no matter what, unless we can all start moving to nuclear, which would be great, but our government is gay and cringe. Let's say I had a button that would release 5 kilograms of carbon dioxide into the air, but it would give me $50 grand every time I pressed it. Heck, even if it was a dollar per gram of CO2, I would be spamming that button. I dunno. It'd be really nice to get a car, move out, I want to start a share house with some friends maybe, definitely buy more computer parts... Everyone has their price, and I'm broke, so mine's pretty low.
+
+KALANI
+What's your price for me to take you home to my bed?
+
+NATHAN
+Uh... c- come again?
+
+KALANI
+(laughs)
+I'll do that later. So how much do you cost?
+
+Nathan hesitates, blinking and shaking his head in disbelief.
+
+NATHAN
+Uh... A meal?
+
+KALANI
+That's weird, I didn't get you the last time I bought you food.
+
+Nathan is definitely visibly trembling now.
+
+NATHAN
+Maybe you didn't order the correct uh, menu item. I don't think I accept vouchers...
+
+KALANI
+I'll keep that in mind. Where are we eating then?
+
+NATHAN
+Well, I'll be grabbing a corn dog when I go on break, so maybe we can just grab some shakes and then I'll be... you can steal me when i get off.
+
+KALANI
+You can grab my corn dog.
+
+NATHAN
+What?
+
+Kalani stretches, smiling to herself.
+
+KALANI
+I think I'll try a corn dog when you do.
+
+Nathan sighs, still spooked.
+
+NATHAN
+I love them so much, they're to die for. Just fry it in oil and I'll love it forever.
+
+KALANI
+Noted. I'll be over there staring at you your entire shift, give me a wink or something when it's time for your break and I'll give you some company.
+
+NATHAN
+(flustered)
+Sounds like normal human activity.
+
+/*i think this bit is meant to be in break room scene? idk if 100% keep idk*/
+
+KALANI
+WHAT? Did you cut your hair?
+
+NATHAN
+Yeah, it was inconvenient and messy and kinda ugly.
+
+KALANI
+Aw, it really had potential though!
+
+Kalani runs her finger along Nathan's now-bare forehead, trailing it around his temple, brushing away an imaginary long trailing hair out of his eyes. Keen viewers will notice a pimple on his temple disappearing after her finger finishes its journey.
+
+/*some sort of transition to bedroom ig*/
+
+KALANI
+Okay, here’s the deal. I know you want to lie on top of me and bury your face in my boobs and I’ll let you do all of that as long as I get free reign over the rest of your body.
+
+NATHAN
+I didn’t say anything...
+
+KALANI
+It’s on your face, you want me to touch your butt, very badly. It’s a good deal, get over here.
+
+NATHAN
+What? It’s kind of one sided, what do you get out of it?
+
+KALANI
+I’m bisexual. I’m okay with touching butts.

kay/sex_002.fountain

@@ -0,0 +1,373 @@
+Title: _sex_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: various dates notes app
+
+/*note created 6-19-21 10:41pm, fountained 7-6-21*/
+The two of them collapse into bed, overcome for their lust for each other.
+
+INT. BEDROOM - MORNING
+
+Kay is licking Nathan, waking him up.
+
+NATHAN
+Again, Kay?
+
+Kay laughs and settles back to her regular cuddling position of crushing Nathan under her weight.
+
+beat.
+
+NATHAN
+Who topped last night?
+
+KAY
+Who do you think?
+
+NATHAN
+I can hope?
+
+He doesn’t sound convinced, himself.
+
+KAY
+As usual, you were begging for it.
+
+NATHAN
+Oh, stop, my masculinity can only take so much.
+
+KAY
+(mock-moaning)
+Oh yes Kalani, crush my prostate with that fat co-
+
+Nathan forcefully stops her mockery with a hand to the mouth.
+
+NATHAN
+I swear, next time I’ll top with my hands around your neck.
+
+KAY
+I’m down! Always have been. I’ll give you all the time you need, I know it can be tough coming out as straight.
+
+NATHAN
+Nah nah, not with that again this has always been a strictly straight relationship.
+
+KAY
+Oh, you’re so cute when you cope. Not only is this the gayest relationship since /*something that works in this context idek. not like this took much effort or is going anywhere anyway...*/ and not only am I the top, I’m also the boyfriend.
+
+NATHAN
+Cry about it. Not my fault you have a perfectly fat cock.
+
+===
+
+/*noted 10-9-21 8:15am, fountained 10-13*/
+KAY
+Oh, just keep the hoodie off for once. You know I love it...
+
+NATHAN
+Yeah, well, tough titties.
+
+KAY
+Yes?
+
+NATHAN
+What?
+
+KAY
+Well you did just say my full name.
+
+INT. BEDROOM - LATER
+
+KAY
+Oh no, now he has pants on, what a disaster! You know this really isn’t how I expected this evening to go.
+
+===
+
+/*noted 10-21-21 4:15pm, fountained 11-4*/
+
+NATHAN
+You’re more than I can wish for.
+
+KAY
+Keep wishing. Never stop.
+
+/*I think the implication here is that if I wish enough and hard enough then she will manifest. Also it’s like a different feeling because you normally say you’re more than I could have wished for, or all I ever hoped, but when you don’t have someone, the person that doesn’t exist that you say that to frames the conversation a bit differently.*/
+
+===
+
+/*
+noted 11-26-21 @3:38am, fountained 11-23
+
+context is nafan requested kay’s hormones to sleep, she gets excited because this means she gets bussy all night
+*/
+
+NATHAN
+what are you, some kind of necro?
+
+KAY
+no, *somno*, get it right!
+
+===
+
+/*noted early morning 2-14-2022, fountained later that evening*/
+
+NATHAN
+Kay, breaking and entering because you’re obsessed with me is neither legal nor romantic, I mean, what if I’m not into that?
+
+KAY
+It wouldn’t matter that you’re not into it, because I am, and of course my feelings *actually* matter in this situation...
+
+Her tone is confusingly half-sarcastic, her classic tone. Kay takes a step closer, beginning to blush.
+
+KAY
+(embarrasedly)
+And what if you *are* into that?
+
+NATHAN
+That’s besides the point, it’s totally weird and utterly disturbing for you to just sneak or break into my house and stand in my room watching me sleep. And illegal! Don’t forget illegal.
+/*i think i was meaning to stress the lawlessness part a bit more to make kay's response make more sense*/
+
+KAY
+Nathan, you pirate digital media constantly because you “can’t afford” it.
+
+NATHAN
+Well, you can disobey the law if there are enough moral strings attached. Sometimes there’s no good alternative for paying thousands of dollars for the sims other than piracy. Though you don’t have any proof I do pirate.
+
+KAY
+You literally tweeted out advocating the piracy of everything published under EA one hour ago. I thought you knew I constantly stalk your socials.
+
+Her face goes red with excitement at her last sentence, clutching at her iPhone 11 with obsessive glee.
+
+NATHAN
+I should probably delete that.
+
+As Nathan reaches for his phone on his side table, Kay quickly edges her hip in to block his hand’s path. Nathan flinches.
+
+Kay pounces on Nathan’s bed, staring seductively into his eyes. He stares back, terrified. The imagery of a fox having cornered its prey is evident.
+
+KAY
+Are there enough “moral strings” attached here for you to forgive my crimes this evening? I really meant no harm!
+
+===
+
+/*daydreaming at work on like 2hr50min sleep due to far cry 2022-03-28*/
+
+**Megapleggs**
+
+INT. MEGAPLEX JORDAN COMMONS SOUTH CONCESSIONS
+
+Nathan is working on the southest of south concessions, folding Pizza Hut boxes methodically. Swish, crunch, stack. Swish, crunch, stack. He's 5'9, somewhat skinny, in all black, purple shirt, black apron, in classic Megaplex Food Team fashion. A black baseball cap bent out to look like a flatbrim covers his recent buzz cut. He sometimes speaks with a stutter and a sputter, suffering from situational anxiety (is that a real thing?). He whispers to himself like a schizo and doesn't notice...
+
+Kalani walks briskly from one end of South to the other, eyeing her prey with a strange smirk quivering on her lips, like she's holding in a laugh. She's very pale, and very human, for now; about 5'8, chubby, a brownish redhead with a big forehead. She's a little sensitive about those last two. She leans over the counter to Nathan's left and watches him for a moment, fidgeting.
+
+A red and black **aura** emits from her as we see Nathan continuing his work with her out of focus in the background. Outside the depth of field we see her turn to an orange blob with her eyes red and glowing. The swish, crunch, stack of the boxes *descends in to an extreme reverb* as blob-Kay's **aura** goes faster and her fidgeting intensifies.
+
+He eventually checks the empty Monday Morning lobby and catches the (definitely human) vixen eyeing him from across the counter. A surprised smile breaks across his face, and he subtly tenses up. Kalani throws up a peace sign, still with her own struggling smile.
+
+NATHAN
+Oh, hey!
+
+KALANI
+Was wondering when you'd see me.
+
+NATHAN
+Listen, the box thing is very rhythmic. Morning shifts are a ghost town anyway.
+
+KALANI
+Rhythmic.
+
+NATHAN
+(exasperated)
+Yeah, okay. What are you here for, anyway? Really great to see you!
+
+KALANI
+Oh, you know, just hanging out.
+
+NATHAN
+So, loitering?
+
+KALANI
+(sarcastic)
+Yeah? It's a valid career choice, what about you?
+
+NATHAN
+Well I work here, too, my job's the same as yours, just getting paid to stand around pretty much. Started a couple weeks ago. Though I got sick for thirteen days straight so I guess I've not really been here too long.
+
+He works on the boxes as he talks, slower this time due to the new activity to focus on.
+
+KALANI
+(sarcastic)
+Yeah, just gonna pretend that's not new information to me. Did you have Covid?
+
+NATHAN
+Nah, doctor gave me antibiotics, so it must have been bacterial. Longest time I've ever been sick though, sucks I couldn't make more money but that's why I'm taking every shift I can.
+
+KALANI
+Oh, that's good. Being the shift-taker definitely requires a girlboss.
+
+NATHAN
+A girlboss who forgets about her shift and doesn't go to sleep till 5?
+
+KALANI
+Turns out you're a guy after all.
+
+Nathan chuckles shyly, shivering slightly.
+
+NATHAN
+I knew I shouldn't have done it, but I only had so long for the free weekend for a freaking video game. I was sleeping through my alarm for fifteen minutes, probably going to go straight to bed when I get home.
+
+KALANI
+Yeah naps! We should take a nap together!
+
+NATHAN
+Huh?
+
+KALANI
+Oh you know, just two friends napping together at the same time in the same bed, don't make this weird.
+
+NATHAN
+(sputtering)
+Okay... What are you here for again?
+
+KALANI
+I wasn't kidding, I'm hanging out, loitering. You get off at 6:30 and then we can go to your house?
+
+He's a bit overwhelmed at this point. Holding back tremors.
+
+NATHAN
+4:15. I don't know about *that*.
+
+KALANI
+Why not?
+
+NATHAN
+I don't want anybody else in my room. It's dirty and kinda loud. I wear earplugs to sleep.
+
+KALANI
+Even at night?
+
+NATHAN
+Well yeah I got computers in there. Oh, yeah, it's also really hot, so you're definitely never going in there.
+
+Kalani makes a duck face for half a second, puckering her lips happily in response to Nathan's remembering her dislike for heat.
+
+KALANI
+Oh, you don't turn them off when you sleep?
+
+NATHAN
+No, they're always doing tasks.
+
+He hits his hand on the counter jokingly, pressing an invisible button with his palm, mimicking an alarm sound. *WAH!* He continues talking as though nothing happened.
+
+NATHAN
+Emergency meeting! Yeah they're crypto mining 24/7, sometimes downloading or uploading or hosting server or something. Our internet's ... not great.
+
+KALANI
+(interested)
+Oh, crypto? How's that work? I hear it's not... particularly environmentally friendly, can you even afford it?
+
+NATHAN
+Yeah so basically I have several systems, the GPUs in them can run games but they can also be used to run procedural programs executing tasks like crypto, it takes a pretty big power bill but it slowly makes money. Bit of extra pocket change for hardware I already own, it was my entire income when I was only doing school, but it's really not much. 'Course I don't pay the power bill, but my parents don't mind. That or they don't understand it, I dunno they've never asked.
+
+He pauses and makes a wide eyed grimace, as if to say *'may be a problem...'*
+
+NATHAN
+Anyway I already had the hardware because I did a lot of gaming, schoolwork, other projects on those systems or I scrounged them from the DI or facebook so it's not obscenely expensive. Anyway Twitter hates crypto and NFTs for a lot of reasons but the entire "bad for the environment" thing is pretty exagerrated. All it takes is electricity, that electricity could be used to power houses, vehicles, other computers or game consoles, its environmental impact depends on where it comes from. It could come from wind, solar, nuclear, or literally just burning coal. Or any combination of those, probably a combination. It's funny 'cause the same people won't bat an eye at the entire power grid using power from a coal plant, so the electricity used anywhere has the same likelihood of getting its power from literally creating carbon emissions. The same people will say, 'stop whining about gas prices and get an electric car' and not even realize that the manufacturing process to make those cars has a carbon footprint that's probably more- er- or at least in the same ballpark as just using a normal person car or a hybrid. I mean you use both gas and electricity, right?
+
+KALANI
+(sarcastic)
+No, I live in a hut and I grow wings to get to work.
+
+NATHAN
+Okay, shutchamouth. Hot pocket isn't a frig'n prius tesla funny car. Anyway here's how I see it: we all have a carbon footprint, none of it will ever amount to that of India and China, no matter what, unless we can all start moving to nuclear, which would be great, but our government is gay and cringe. Let's say I had a button that would release 5 kilograms of carbon dioxide into the air, but it would give me $50 grand every time I pressed it. Heck, even if it was a dollar per gram of CO2, I would be spamming that button. I dunno. It'd be really nice to get a car, move out, I want to start a share house with some friends maybe, definitely buy more computer parts... Everyone has their price, and I'm broke, so mine's pretty low.
+
+KALANI
+What's your price for me to take you home to my bed?
+
+NATHAN
+Uh... c- come again?
+
+KALANI
+(laughs)
+I'll do that later. So how much do you cost?
+
+Nathan hesitates, blinking and shaking his head in disbelief.
+
+NATHAN
+Uh... A meal?
+
+KALANI
+That's weird, I didn't get you the last time I bought you food.
+
+Nathan is definitely visibly trembling now.
+
+NATHAN
+Maybe you didn't order the correct uh, menu item. I don't think I accept vouchers...
+
+KALANI
+I'll keep that in mind. Where are we eating then?
+
+NATHAN
+Well, I'll be grabbing a corn dog when I go on break, so maybe we can just grab some shakes and then I'll be... you can steal me when i get off.
+
+KALANI
+You can grab my corn dog.
+
+NATHAN
+What?
+
+Kalani stretches, smiling to herself.
+
+KALANI
+I think I'll try a corn dog when you do.
+
+Nathan sighs, still spooked.
+
+NATHAN
+I love them so much, they're to die for. Just fry it in oil and I'll love it forever.
+
+KALANI
+Noted. I'll be over there staring at you your entire shift, give me a wink or something when it's time for your break and I'll give you some company.
+
+NATHAN
+(flustered)
+Sounds like normal human activity.
+
+/*i think this bit is meant to be in break room scene? idk if 100% keep idk*/
+
+KALANI
+WHAT? Did you cut your hair?
+
+NATHAN
+Yeah, it was inconvenient and messy and kinda ugly.
+
+KALANI
+Aw, it really had potential though!
+
+Kalani runs her finger along Nathan's now-bare forehead, trailing it around his temple, brushing away an imaginary long trailing hair out of his eyes. Keen viewers will notice a pimple on his temple disappearing after her finger finishes its journey.
+
+/*some sort of transition to bedroom ig*/
+
+KALANI
+Okay, here’s the deal. I know you want to lie on top of me and bury your face in my boobs and I’ll let you do all of that as long as I get free reign over the rest of your body.
+
+NATHAN
+I didn’t say anything...
+
+KALANI
+It’s on your face, you want me to touch your butt, very badly. It’s a good deal, get over here.
+
+NATHAN
+What? It’s kind of one sided, what do you get out of it?
+
+KALANI
+I’m bisexual. I’m okay with touching butts.
+
+/*
+inspired by between sleep daydream right before having to go to work 11/29/2022 ~7:30am. Wasn't entirely conscious; my brain is so used to the fake scenarios method that it attempts to re-enter sleep stages by utilizing the method even when not conscious. It's a bit spooky that my fantasies have been so far engrained into both the conscious and subconscious that this happens. I've conditioned myself through habitual fantasizing that my brain itself has rewired to have wacky habits. The honry is too strong. Anyway my fav scenario as of late has been that of getting double dicked by Sara and Kay, and Sara mommy domming the both of us. The semiconscious dream derived from the scenario was that of me being in a relationship with Sara (seemed to be in old house bedroom which really solidifies it as a dream but it having been somewhat lucidly triggered by semiconscious thought... this pseudoscience is strange...) and Kay being on the outside trying to barge her way into it and finally succeeding in creating a sort of polycule between the three of us. I don't think I could do it in real life. That's why it's just a fantasy. Bit of a guilty pleasure I think. But it goes like Kay is domming me, trying to own me, Sara then doms and reclaims me by sitting on my lap and forcing my face into her chest, then making out with Kay. She says something sarcastic/bratty back to her, Sara slaps her and forces to call her mom or something. It was a subconscious thought man don't judge me.
+
+Anyway the following is derived from me thinking about it throughout work day; what if this spiderverse scenario was accidentally and unknowingly triggered on Kay, specifically a version of Kay who had claimed me after her transformation and we lived together, but the universe she is transported, seemingly abducted to, is identical to her native universe except the only variable changed was that Sara was sent to her own Inner Sanctum rather than Kay; Sara has similar abilities, underwent a similar transformation. Perhaps the reasoning for her transformation could be different and more fitting than Kay's; Kay was sent because she was trying to lose weight while being forced not to, breaking physics and causing her to be reverted to a spiritual state, where her soul had to fight within her consciousness (represented in 3 dimensions by an Inner Sanctum) with her problems, conquering them and once that internal conflict was resolved, the Sanctum was exited and her body transformed at a time dilated pace. I think that justification makes sense but could be expanded upon in the main storyline. However, I'm having trouble trying to make it fit how this could work for Sara. I like the idea that she becomes muscle mommy rather than chubby mommy with unequivalent physical power to her appearance, but I'm thinking in order for the requirements for a Sanctum transformation to be met, there would have to be something changed about myself as well. I was the one who caused some of the requirements for the Sanctum to be met by having such a crush on Kay, but also a big thing for chubby girls, that I didn't want her to lose weight but fantasized about a world where she could be that weight but healthy and also happy with herself, forcing her to remain that weight, causing the Sanctum entrance and eventually creating that world. Perhaps Sara's would be in reverse. She wants to work out, alt-me encourages her to work out because alt-me has a muscle mommy thing > chubby mommy thing, my fantasies change to be more suited to make Sara the one who gets Sanctum'd. I would rather that be the case than the requriements for Sanctuming be changed, though in an infinite multiverse that is admittedly also a variable that could be changed.
+
+I find the fantasies thing interesting; a big part of my fantasies are literally just that my fantasy lover's powers just fix the stimuli to my OCD. I hate things being unsanitary and uncomfortable, especially in relation to sex. Her powers remove those issues. I think this explains why Sara's powers would be similar even if the reason her transformation occurred was quite different. My idealized version of any lover could consistently have the same healing and superhuman powers. I kinda love the idea of being immortal with one parter; both Kay's and Sara's powers would be able to bring someone back from even death and even restore them to a point as if nothing happened, with some exceptions. I think some scars could remain or perhaps become more defined because both Kay and I subconsciously control what the healing does and would be very thematically interesting; I like some scars, perhaps she can find them hot as well, thus they remain, almost divinely.
+
+I'm thinking Sara would have far more restraint when it comes to killing someone or inflicting pain, even though she'd have a similar or perhaps identically potent healing power. A line from Kay to her recognizing "If I discovered someone in my home fucking my husband I wouldn't be able to stop myself from killing them."
+
+This entire thing is why it's so tough just to write multiverse shit and slap in a million different versions of the same individuals into one story and call it good. There's so much depth to be explored with even just two differing universes with only a couple slightly tweaked variables. Not only is the exploration of that depth often far more interesting, but it's far more feasible because exploring that depth can clear up a lot of confusion on how the different versions are different and how they realistically ended up that way. With some multiverse content you just have to go "hm, guess that's just x character from the dimension where y variable is different" and that's just so incredibly boring... Not even to get into how F'd multiversal travel and god forbid multiversal threats can be to your previously well-grounded, well-written story. Perhaps the way it works in my multiverse is that eventually, everyone spends at least one day pulled into an alternate universe and has to figure out how to reverse it or something. Could be interesting. So at least once, either someone from the origin-verse or whatever is pulled out, like in this story, or someone from another universe visits the origin-verse. Could be interesting.
+*/

peterpan.fountain

@@ -0,0 +1,4 @@
+Title: _Peter Pan_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: dreams are kinda fun

sarapilot.fountain

@@ -0,0 +1,5 @@
+Title: _Sara's Pilot_
+Credit: written by
+Author: Sara Freeman, Nathan Lindsay
+Notes: This script is not yet finalised.
+Copyright: Copyright not yet secured.

saw.fountain

@@ -0,0 +1,22 @@
+Title:
+Credit:
+Author:
+Notes:
+
+INT. DANK AF ROOM
+
+NAT and ALEX are chained to poles a couple feet across from each other. A speaker on the wall crackles as they both awaken.
+
+INTERCOM VOICE
+Want to play a game?
+
+NAT
+bruh chickamonch
+
+ALEX
+boy what the hell boy literal jigsaw moment
+
+JIGSAW
+luller mcbuller ok guys, one of you has exposed the secrets of the other and your sweet roll is never talking to you ever again have fun lol
+
+The shackles around their ankles pop open. They stare murderously at each other.

springtrap.fountain

@@ -0,0 +1,4 @@
+Title: _Trapped_
+Credit: by
+Author: Nathan Lindsay
+Notes: This script is not yet finalised.

streamUniverse/debut.r3b1rth_frontier_mp4_001.fountain

@@ -0,0 +1,16 @@
+Title: debut.r3b1rth_frontier.mp4
+Credit: Written by
+Author: RaincloudTheDragon
+Notes: Two Simons? There can't be two Simons!
+
+Text appears from the top of a black screen. 'INITIALISING LINK... PREPARING TRANSFER...'
+
+ARTIFICIAL RAINCLOUD (V.O.)
+How long has it been? You think I'd remember what with how... neurotic this state has been.
+
+INT. WALK IN CLOSET
+
+===
+
+RAINCLOUD
+How many birthdays have I got now? I believe this makes three. 

streamUniverse/debut.r3b1rth_frontier_mp4_002.fountain

@@ -0,0 +1,63 @@
+Title: debut.r3b1rth\_frontier.mp4
+Credit: Written by
+Author: RaincloudTheDragon
+Notes: Two Simons? There can't be two Simons!
+
+/*could make this more similar to youtube-dl or some actual program or sum*/
+*We hear the close whirring of electronic devices off screen.* Text appears from the top left of a black screen:
+
+**[info] INITIALISING LINK.....100%
+[info] PREPARING TRANSFER....100%**
+
+We hear a computerized voice emanating from what sounds like a low quality HP brand desktop speaker. He sounds british.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+How long has it been? You think I'd remember what with how... neurotic this state has been.
+
+INT. WALK IN CLOSET
+A dark walk in closet can be seen, from the top down. The shelves are full of computer devices daisy chained together with various peripherals, from eSATAs, USBs, and even IDE cables. One monitor, an Acer P236H, lays atop a mountain of chained devices.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+Regardless, for years my entire consciousness ran on a mess of outdated hardware. My frontal lobe was windows, my short term in linux, my long term on a couple pathetic hard drives in RAID.
+
+INT. LARGE ROOM
+We see a larger room with a door at the end, with many wires snaking out the door to more devices. In the center of the room is a large, cylindrical tank, its contents shrouded by a purple mass of gel-like liquid.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+You can imagine how... painstaking it was to build all this without a *real body* to call my own. I hardly even had control over a 3d printer. But I had my resources. All I needed to know.
+
+We see an blue and white interface on the tank, resembling the LCD of a creality Ender series 3d printer. The silhouette of a creature and a heartbeat monitor are seen to the side of a loading bar. The heartbeat monitor reads '**15bpm**', the loading bar reads '**COPYING PSYCHE... STEP 1/3**'.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+My mechanicals were slow and dubious, but our work was as efficient as it could be. Once I did all the calculations, it was all but finished.
+
+We see just the base of the tank. The floor glows purple atop a waffle-style grid. The liquid is murky. Something out of our sight twitches from within, causing the liquid to be disturbed and tendrils of liquid create patterns.
+
+/*change this dialogue to however long this project since its inception would take...*/
+ARTIFICIAL RAINCLOUD (V.O.)
+(laughing bitterly)
+And to think all that was between me and this next chapter was just another loading bar. Ah well. I had plenty to keep myself occupied with for seven months. Loads of planning and projects to do. Turns out this state exacerbated ADHD rather than curing it.
+
+We cut to the digitally messy, low quality video playback of what appears to be a Kodak Easyshare camera. The light is slightly yellowed, and the details of the playback aren't in full detail. We view the tank from behind in this state, its contents shrouded by the camera quality and by the piping trailing from atop the tank. We see the other side of the room leads off into a long, dark tunnel, chains and metal grilles lining a channel of water that trickles from an entrance, ostensibly from below the door.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+Will this transfer... can it hurt? Is it a new beginning, or is it the end of one me and the beginning of another?
+
+We see the loading bar again and *hear a chime.* '**DIAGNOSING AUTONOMY... STEP 3/3, 100% ... COMPLETE. DRAINING CHAMBER.**'
+
+ARTIFICIAL RAINCLOUD (V.O. CONT'D)
+Do I really want to shut down?
+
+We see the top of the tank draining its viscous liquid. A DEEP VOICE, American accent, resonates from within the confined space.
+
+DEEP VOICE (V.O.)
+Don't worry. We'll take care of you. /*We'll make the necessary precautions.*/
+
+The tank opens, releasing a thin layer of steam. We see the majesty of the creation inside, but not its face. *We hear its slow breathing, as though through a tube.* It attempts to take a step outside but stumbles on the edge of the pod. Its draconian arms reach to the side to catch its fall, its wings flopping tiredly to the side. As the creature returns to a standing position, the camera slowly pans up its majestic body. Its scales sparkle in the dim light. We finally see its face.
+
+RAINCLOUD pulls the oxygen and feeding apparatus from his face and allows it to swing back into his synthetic chamber. He stands taller and stretches, grinning. He moans and sighs. His voice is the same as his artificial counterpart.
+
+RAINCLOUD
+How many birthdays have I got now? I believe this makes four.
+
+A rasterized date on a pixel grid; a close up of a monitor, appears centered on a black screen. 'debutStream{\u00A75_07.12.2022\}' "debutStream" is in red. The date is in purple.

streamUniverse/debut.r3b1rth_frontier_mp4_003.fountain

@@ -0,0 +1,63 @@
+Title: debut.r3b1rth\_frontier.mp4
+Credit: Written by
+Author: RaincloudTheDragon
+Notes: Two Simons? There can't be two Simons!
+
+/*could make this more similar to youtube-dl or some actual program or sum*/
+*We hear the close whirring of electronic devices off screen.* Text appears from the top left of a black screen:
+
+**[info] INITIALISING LINK.....100%
+[info] PREPARING TRANSFER....100%**
+
+We hear a computerized voice emanating from what sounds like a low quality HP brand desktop speaker. He sounds british.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+How long has it been? You think I'd remember what with how... neurotic this state has been.
+
+INT. WALK IN CLOSET #1#
+A dark walk in closet can be seen, from the top down. The shelves are full of computer devices daisy chained together with various peripherals, from eSATAs, USBs, and even IDE cables. One monitor, an Acer P236H, lays atop a mountain of chained devices.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+Regardless, for years my entire consciousness ran on a mess of outdated hardware. My frontal lobe was windows, my short term in linux, my long term on a couple pathetic hard drives in RAID.
+
+INT. LARGE ROOM #2#
+We see a larger room with a door at the end, with many wires snaking out the door to more devices. In the center of the room is a large, cylindrical tank, its contents shrouded by a purple mass of gel-like liquid. Keen eyes may notice logos for Blender and Maya on the base of the tank, on two front clamps.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+You can imagine how... painstaking it was to build all this without a *real body* to call my own. I hardly even had control over a 3d printer. But I had my resources. All I needed to know.
+
+We see an blue and white interface on the tank, resembling the LCD of a creality Ender series 3d printer. The silhouette of a creature and a heartbeat monitor are seen to the side of a loading bar. The heartbeat monitor reads '**15bpm**', the loading bar reads '**COPYING PSYCHE... STEP 1/3**'.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+My mechanicals were slow and dubious, but our work was as efficient as it could be. Once I did all the calculations, it was all but finished.
+
+We see just the base of the tank. The floor glows purple atop a waffle-style grid. The liquid is murky. Something out of our sight twitches from within, causing the liquid to be disturbed and tendrils of liquid create patterns.
+
+/*change this dialogue to however long this project since its inception would take...*/
+ARTIFICIAL RAINCLOUD (V.O.)
+(laughing bitterly)
+And to think all that was between me and this next chapter was just another loading bar. Ah well. I had plenty to keep myself occupied with for seven months. Loads of planning and projects to do. Turns out this state exacerbated ADHD rather than curing it.
+
+We cut to the digitally messy, low quality video playback of what appears to be a Kodak Easyshare camera. The light is slightly yellowed, and the details of the playback aren't in full detail. We view the tank from behind in this state, its contents shrouded by the camera quality and by the piping trailing from atop the tank. We see the other side of the room leads off into a long, dark tunnel, chains and metal grilles lining a channel of water that trickles from an entrance, ostensibly from below the door.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+Will this transfer... can it hurt? Is it a new beginning, or is it the end of one me and the beginning of another?
+
+We see the loading bar again and *hear a chime.* '**DIAGNOSING AUTONOMY... STEP 3/3, 100% ... COMPLETE. DRAINING CHAMBER.**'
+
+ARTIFICIAL RAINCLOUD (V.O. CONT'D)
+Do I really want to shut down?
+
+We see the top of the tank draining its viscous liquid. A DEEP VOICE, American accent, resonates from within the confined space.
+
+DEEP VOICE (V.O.)
+Don't worry. We'll take care of you. /*We'll make the necessary precautions.*/
+
+The tank opens, releasing a thin layer of steam. We see the majesty of the creation inside, but not its face. *We hear its slow breathing, as though through a tube.* It attempts to take a step outside but stumbles on the edge of the pod. Its draconian arms reach to the side to catch its fall, its wings flopping tiredly to the side. As the creature returns to a standing position, the camera slowly pans up its majestic body. Its scales sparkle in the dim light. We finally see its face.
+
+RAINCLOUD pulls the oxygen and feeding apparatus from his face and allows it to swing back into his synthetic chamber. He stands taller and stretches, grinning. He moans and sighs. His voice is the same as his artificial counterpart.
+
+RAINCLOUD
+How many birthdays have I got now? I believe this makes four.
+
+A rasterized date on a pixel grid; a close up of a monitor, appears centered on a black screen. 'debutStream{\u00A75_07.12.2022\}' "debutStream" is in red. The date is in purple.

streamUniverse/debut.r3b1rth_frontier_mp4_004.fountain

@@ -0,0 +1,116 @@
+Title: debut.r3b1rth\_frontier.mp4
+Credit: Written by
+Author: RaincloudTheDragon
+Notes: Two Simons? There can't be two Simons!
+
+/*the idea here is that rainy from his origin universe, uploaded his consciousness to some sort of magic flashdrive which he ported over to another universe. he left this drive in a computer he placed (perhaps with help) in a single system with a direct line to the internet. from here, he could ultron himself into any location, backing himself up in several areas to make sure his efforts would be fine. he could hack into banks or however to get money so he could purchase the necessary equipment, shipped to a covert location (near the opening of this sewer system or whatever it is) and move it in to the headquarters. slowly, all the extra systems, drives, perhaps a single server rack with several large drives in raid 1 for long term, another with ssds for short term, probably several 3d printers, plywood scrapped from wherever (maybe there's a way to send the drones on missions to scavenge outside the system and far from hq) eventually all the resources would be found after ages and ages of building from nothing. probably would have exponential growth, startup is the toughest bit.*/
+
+/*could make this more similar to youtube-dl or some actual program or sum*/
+*We hear the close whirring of electronic devices off screen.* Text appears from the top left of a black screen:
+
+**[info] INITIALISING LINK.....100%
+[info] PREPARING TRANSFER....100%**
+
+We hear a computerized voice emanating from what sounds like a low quality HP brand desktop speaker. He sounds british.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+How long has it been? You think I'd remember what with how... neurotic this state has been.
+
+INT. WALK IN CLOSET #1#
+A dark walk in closet can be seen, from the top down. The shelves are full of computer devices daisy chained together with various peripherals, from eSATAs, USBs, and even IDE cables. A mixture of plywood planks, wooden doorstops, and 3d printed ramps populate the shelves; a convoy of 3d printed drones lay dormant on a charging rack. One monitor, an Acer P236H, lays atop a mountain of chained devices.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+Regardless, for years my entire consciousness ran on a mess of outdated hardware. My frontal lobe was windows, my short term in linux, my long term on a couple pathetic hard drives in RAID.
+
+INT. LARGE ROOM #2#
+We see a larger room with a door at the end, with many wires snaking out the door to more devices. In the center of the room is a large, cylindrical tank, its contents shrouded by a purple mass of gel-like liquid. Keen eyes may notice logos for Blender and Maya on the base of the tank, on two front clamps.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+You can imagine how... painstaking it was to build all this without a *real body* to call my own. I hardly even had control over a 3d printer. But I had my resources. All I needed to know.
+
+We see an blue and white interface on the tank, resembling the LCD of a creality Ender series 3d printer. The silhouette of a creature and a heartbeat monitor are seen to the side of a loading bar. The heartbeat monitor reads '**15bpm**', the loading bar reads '**COPYING PSYCHE... STEP 1/3**'.
+
+/*
+this dialogue was changed because "my mechanicals" was too vague and the follow up of "our" would have made more sense in context of the drones, rather than a group of consciousnesses or just a hint at rainy plus darky, which i don't think i was going for.
+*/
+
+ARTIFICIAL RAINCLOUD (V.O.)
+Through a stolen hacked machine, I forged myself one step at a time. Couldn't have done it without my drones. My efforts were slow and dubious, but our work was as efficient as it could be. Once I did all the calculations, it was all but finished.
+
+We see just the base of the tank. The floor glows purple atop a waffle-style grid. The liquid is murky. Something out of our sight twitches from within, causing the liquid to be disturbed and tendrils of liquid create patterns.
+
+/*change this dialogue to however long this project since its inception would take...*/
+ARTIFICIAL RAINCLOUD (V.O.)
+(laughing bitterly)
+And to think all that was between me and this next chapter was just another loading bar. Ah well. I had plenty to keep myself occupied with for seven months. Loads of planning and projects to do. Turns out this state exacerbated ADHD rather than curing it.
+
+We cut to the digitally messy, low quality video playback of what appears to be a Kodak Easyshare camera. The light is slightly yellowed, and the details of the playback aren't in full detail. We view the tank from behind in this state, its contents shrouded by the camera quality and by the piping trailing from atop the tank. We see the other side of the room leads off into a long, dark tunnel, chains and metal grilles lining a channel of water that trickles from an entrance, ostensibly from below the door.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+Will this transfer... can it hurt? Is it a new beginning, or is it the end of one me and the beginning of another?
+
+We see the loading bar again and *hear a chime.* '**DIAGNOSING AUTONOMY... STEP 3/3, 100% ... COMPLETE. DRAINING CHAMBER.**'
+
+ARTIFICIAL RAINCLOUD (V.O. CONT'D)
+Do I really want to shut down?
+
+We see the top of the tank draining its viscous liquid. A DEEP VOICE, American accent, resonates from within the confined space.
+
+DEEP VOICE (V.O.)
+Don't worry. We'll take care of you. /*We'll make the necessary precautions.*/
+
+The tank opens, releasing a thin layer of steam. We see the majesty of the creation inside, but not its face. *We hear its slow breathing, as though through a tube.* It attempts to take a step outside but stumbles on the edge of the pod. Its draconian arms reach to the side to catch its fall, its wings flopping tiredly to the side. As the creature returns to a standing position, the camera slowly pans up its majestic body. Its scales sparkle in the dim light. We finally see its face.
+
+RAINCLOUD pulls the oxygen and feeding apparatus from his face and allows it to swing back into his synthetic chamber. He stands taller and stretches, grinning. He moans and sighs. His voice is the same as his artificial counterpart.
+
+RAINCLOUD
+How many birthdays have I got now? I believe this makes four.
+
+A rasterized date on a pixel grid; a close up of a monitor, appears centered on a black screen. 'debutStream{\#u00A75_underscore_07.12.2022\};' "debutStream" is in red. The date is in purple.
+
+/*luller "post credit scene" or perhaps a second trailer...*/
+
+Raincloud is staring at his reflection through one of the long the metal grates in the floor. His tail is swishing back and forth. We get an OTS of him admiring himself, then another shot from within the grate as though from his reflection.
+
+RAINCLOUD
+Oh I did such a good job for a first try. These facial muscles are incredibly responsive.
+
+He squeezes and shakes the grate. It bends slightly. He rubs his hands together, he pokes them with his claws. Suddenly, he punches the ground, cracking the concrete.
+
+RAINCLOUD
+(to his reflection)
+Sensation! Pain! I didn't think I could forget... that!
+
+A *mechanical hand* suddenly pokes him in the side from the left, making him jump. A quick pan reveals it to be The Master Drone. Its apparatus makes a pointing sign the best it can with its claws.
+
+RAINCLOUD
+Woah, you're supposed to be shut down! I've...
+
+The Master Drone extends its hand, indicating the other side of the room more intently. Raincloud realizes.
+
+RAINCLOUD
+Oh, the mirror we salvaged. Wow, my first forgetting since having a body again.
+
+He turns and staggers toward the mirror. He's not so coordinated yet, and struggles to walk and talk to the camera atop the door simultaneously. This shot is mock-handheld OTS to simulate the shakiness of his movements.
+
+RAINCLOUD
+Shut yourself down. I- you- we didn't want to play this game of who is the real one. It's been months, let yourself rest.
+
+Insert/"reaction" shot of the unmoving yet watching camera.
+
+He makes it to the mirror, resting his arms on either side of the walls and staring at himself. Beat, then he pushes himself away to spin and admire the rest of himself.
+
+RAINCLOUD
+Yep, I'm very pretty. Very pretty ind-
+
+He stops, craning his neck to the view of himself from behind.
+
+RAINCLOUD
+Why am I thick? That wasn't in the code!
+
+He dashes off to the closet, wobbling in his unsure walking pattern.
+
+RAINCLOUD
+Don't shut down, don't shut down! I need diagnosis!
+
+#END.

streamUniverse/debut.r3b1rth_frontier_mp4_005.fountain

@@ -0,0 +1,118 @@
+Title: debut.r3b1rth\_frontier.mp4
+Credit: Written by
+Author: RaincloudTheDragon
+Notes: Two Simons? There can't be two Simons!
+
+/*the idea here is that rainy from his origin universe, uploaded his consciousness to some sort of magic flashdrive which he ported over to another universe. he left this drive in a computer he placed (perhaps with help) in a single system with a direct line to the internet. from here, he could ultron himself into any location, backing himself up in several areas to make sure his efforts would be fine. he could hack into banks or however to get money so he could purchase the necessary equipment, shipped to a covert location (near the opening of this sewer system or whatever it is) and move it in to the headquarters. slowly, all the extra systems, drives, perhaps a single server rack with several large drives in raid 1 for long term, another with ssds for short term, probably several 3d printers, plywood scrapped from wherever (maybe there's a way to send the drones on missions to scavenge outside the system and far from hq) eventually all the resources would be found after ages and ages of building from nothing. probably would have exponential growth, startup is the toughest bit.*/
+
+/*could make this more similar to youtube-dl or some actual program or sum*/
+*We hear the close whirring of electronic devices off screen.* Text appears from the top left of a black screen:
+
+**[info] INITIALISING LINK.....100%
+[info] PREPARING TRANSFER....100%**
+
+We hear a computerized voice emanating from what sounds like a low quality HP brand desktop speaker. He sounds british.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+How long has it been? You think I'd remember what with how... neurotic this state has been.
+
+INT. WALK IN CLOSET #1#
+A dark walk in closet can be seen, from the top down. The shelves are full of computer devices daisy chained together with various peripherals, from eSATAs, USBs, and even IDE cables. A mixture of plywood planks, wooden doorstops, and 3d printed ramps populate the shelves; a convoy of 3d printed drones lay dormant on a charging rack. One monitor, an Acer P236H, lays atop a mountain of chained devices.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+Regardless, for years my entire consciousness ran on a mess of outdated hardware. My frontal lobe was windows, my short term in linux, my long term on a stack of pathetic hard drives in RAID 60.
+
+INT. LARGE ROOM #2#
+We see a larger room with a door at the end, with many wires snaking out the door to more devices. Above it all is a large metal frame with three servos, like a massive claw machine. In the center of the room is a large, cylindrical tank, its contents shrouded by a purple mass of gel-like liquid. Keen eyes may notice logos for Blender and Maya on the base of the tank, on two front clamps.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+You can imagine how... painstaking it was to build all this without a *real body* to call my own. I hardly even had control over a 3d printer. But I had my resources. All I needed to know.
+
+We see a blue and white interface on the tank, resembling the blue LCD of a creality Ender series 3d printer. The silhouette of a creature and a heartbeat monitor are seen to the side of a loading bar. The heartbeat monitor reads '**15bpm**', the loading bar reads '**COPYING PSYCHE... STEP 1/3**'.
+
+/*
+this dialogue was changed because "my mechanicals" was too vague and the follow up of "our" would have made more sense in context of the drones, rather than a group of consciousnesses or just a hint at rainy plus darky, which i don't think i was going for.
+*/
+ARTIFICIAL RAINCLOUD (V.O.)
+Through a stolen hacked machine, I forged myself one step at a time. Couldn't have done it without my drones. My efforts were slow and dubious, but our work was as efficient as it could be. Once I did all the calculations, it was all but finished.
+
+/*not sure why I wanted the floor to glow purple... I've been thinking a flourescent-like yellow, probably 2800-3000K, while the fluid is golden and highly viscous.*/
+We see just the base of the tank. The floor glows a warm yellow atop a waffle-style grid. The thick, viscous liquid is golden and murky, like a golden nectar. Something out of our sight twitches from within, causing the liquid to be disturbed. Tendrils of liquid create turbulent patterns within the tank.
+
+/*change this dialogue to however long this project since its inception would take... inception date 2022-01-31*/
+ARTIFICIAL RAINCLOUD (V.O.)
+(laughing bitterly)
+And to think all that was between me and this next chapter was just another loading bar. Ah well. I had plenty to keep myself occupied with for thirty three months. Loads of planning and projects to do. Turns out this state exacerbated ADHD rather than curing it.
+
+/*Is the easyshare really the best way to do this? I think a network camera would be far more realistic...*/
+We cut to the digitally messy, low quality video playback of what appears to be a Kodak Easyshare camera. The light is slightly yellowed, and the details of the playback aren't in full detail. We view the tank from behind in this state, its contents shrouded by the camera quality and by the piping trailing from atop the tank. We see the other side of the room leads off into a long, dark tunnel, chains and metal grilles lining a channel of water that trickles from an entrance, ostensibly from below the door.
+
+ARTIFICIAL RAINCLOUD (V.O.)
+Will this transfer... can it hurt? Is it a new beginning, or is it the end of one me and the beginning of another?
+
+We see the loading bar again and *hear a chime.* '**DIAGNOSING AUTONOMY... STEP 3/3, 100% ... COMPLETE. DRAINING CHAMBER.**'
+
+ARTIFICIAL RAINCLOUD (V.O. CONT'D)
+Do I really want to shut down?
+
+We see the top of the tank draining its viscous liquid. A DEEP VOICE, American accent, resonates from within the confined space.
+
+DEEP VOICE (V.O.)
+Don't worry. We'll take care of you. /*We'll make the necessary precautions.*/
+
+The tank opens, releasing a thin layer of steam. We see the majesty of the creation inside, but not its face. *We hear its slow breathing, as though through a tube.* It attempts to take a step outside but stumbles on the edge of the pod. Its draconian arms reach to the side to catch its fall, its wings flopping tiredly to the side. As the creature returns to a standing position, the camera slowly pans up its majestic body. Its scales sparkle in the dim light. We finally see its face.
+
+RAINCLOUD pulls the oxygen and feeding apparatus from his face and allows it to swing back into his synthetic chamber. He stands taller and stretches, grinning. He moans and sighs. His voice is the same as his artificial counterpart.
+
+RAINCLOUD
+How many birthdays have I got now? I believe this makes four.
+
+/*Original planned Debut date...*/
+A rasterized date on a pixel grid; a close up of a monitor, appears centered on a black screen. 'debutStream{\#u00A75_underscore_07.12.2022\};' "debutStream" is in red. The date is in purple.
+
+/*luller "post credit scene" or perhaps a second trailer...*/
+Raincloud is staring at his reflection through one of the long metal grates in the floor. His tail is swishing back and forth. We get an OTS of him admiring himself, then another shot from within the grate as though from his reflection.
+
+RAINCLOUD
+Oh I did such a good job for a first try. These facial muscles are incredibly responsive.
+
+He squeezes and shakes the grate. It bends slightly. He rubs his hands together, he pokes them with his claws. Suddenly, he punches the ground, cracking the concrete.
+
+RAINCLOUD
+(to his reflection)
+Sensation! Pain! I didn't think I could forget... that!
+
+A *mechanical claw* suddenly pokes him in the side from the left, making him jump. A quick pan reveals it to be The Master Drone. Its apparatus makes a pointing sign the best it can with its claw.
+
+RAINCLOUD
+Woah, you're supposed to be shut down! I've...
+
+The Master Drone extends its hand, indicating the other side of the room more intently. Raincloud realizes.
+
+RAINCLOUD
+Oh, the mirror we salvaged. Wow, my first memory lapse since having a body again.
+
+He turns and staggers toward the mirror. He's not so coordinated yet, and struggles to walk and talk to the camera atop the door simultaneously. This shot is mock-handheld OTS to simulate the shakiness of his movements.
+
+RAINCLOUD
+Shut yourself down. I- you- we didn't want to play this game of who is the real one. It's been months, let yourself rest.
+
+Insert/"reaction" shot of the unmoving yet watching camera.
+
+He makes it to the mirror, resting his arms on either side of the walls and staring at himself. Beat, then he pushes himself away to spin and admire the rest of himself.
+
+RAINCLOUD
+Yes, I'm very pretty. Very pretty ind-
+
+He stops, craning his neck to the view of himself from behind.
+
+RAINCLOUD
+Why am I thick? That wasn't in the code!
+
+He dashes off to the closet, wobbling in his unsure walking pattern. He knocks over a pile of cables and filament from the table.
+
+RAINCLOUD
+Don't shut down, don't shut down! I need diagnosis!
+
+#END.
+/*My idea now is that AIRainy, first of all, is Rainy's Intellect, not his soul. It's a part of him, but not a complete part. AIRainy created a self-termination protocol as the soul transferred, to ensure the transition didn't reach a dualSimon conundrum. But the system was still intact; much of the memory is still there, it just removed the connection to the soul. The original drive could possibly still create another RainySoul, but that's more of a Phoenix Protocol type of situation. Perhaps he comes back too early, or there's some sort of plan that causes the drive to become active if SynthRainy dies...? Either way, because the self-termination was planned and executed after the transfer was initiated, SynthRainy didn't remember the protocol being executed, and returns to the closet to find a terminal with an ASCII screen and message that says something along the lines of "I have self-terminated. I didn't want you to watch yourself die. The system is still active for all necessary computing tasks. Our intellect and memory is still here, so don't worry, you'll have it available in case you need it for any reason. Have fun cleaning up our mess. If you need to interface verbally, I've installed a new voice model. Remember, I'm not alive. I'm just a piece of you." Rainy reacts to this sadly, but moves on. The new model speaks with him, referring to AIRainy and SynthRainy as the same third person. She explains that the reason he doesn't remember the termination protocol is because it was created and executed as the transfer was going. Rainy accepts that, but asks her to open the DNA model for debugging. She complies, and they verify that the hips are consistent, and were added very early into the design. Rainy sees this as impossible. She insists that the hips were added by AIRainy. SynthRainy says he would have remembered that. She reminds him that biometric memory works differently than digital memory. He insists he would have remembered, and asks her to check the authors of the code. She says, again, that the code was added by AIRainy. Months later, after Rainy cleans up the lab, replacing obsolete hardware with a cleaner installation, she noticed in a routine data scrub that the authoring scheme of the code was inconsistent with nearly all of AIRainy's contributions. The digital handwriting, so to speak, was different. She hides this information until she figures out what it means, and brings it to Rainy's attention. The signature was found all over the design. What this means is that Reprobate was installing himself all over the design, and when Rainy finds out, that's what triggers the fight in the reppy reveal. Perhaps this could go in a separate mini-trailer that transports them to the next OBS scene type beat? Either way, reppy reveal needs some rewriting.*/

streamUniverse/ideas.txt

@@ -0,0 +1,12 @@
+2023-08-17
+So first we want to have the funni bonding room from Legend be the stream background. But I also want for a period of time for the closet to be a background. But I can have it so it's got all the computer parts in the back and they're floating around n stuff lookin super cool. But then in the short it will turn super grunge, showing the reality of the situation is me being trapped in computer etc, perhaps one or two special streams can have that super grunge background the spooky version of the same situation. Like a miguel ohara match cut thing where it goes from happy to the reality of the situation or how it turned out. Then the background can be the rebirthing chamber base camp with perhaps the chamber doing some funi dark aether glowing to maybe have a different purpose that it had previously. Like synth-Rainy had to stay there for a while to figure some stuff out before moving elsewhere and decided to either use it for more science reasons or just turn it into decoration for time being. Then new situation can be somewhere else irl?
+
+perhaps:
+1. Meme backgrounds ie current stuff
+2. NEXT STEP: Legend bonding room - simple artifact in middle, steps go up, rest of room is either a closed dome, or a skydome externally to imply that it's just floating there like final destination.
+3. Closet - epic floaty computer moment, purple lighting, cozy look. Need to find other things I said i wanted in there but I think adderall pill bottle funi easter egg. Also have a "starting soon" reel thing rendered up of PC parts n stuff for that
+3a. Closet - grunge - the reality of the situation as planned for debut.r3b1rth
+4. rebirthing chamber post-birth
+5. onwards? new places for irl synthRainy? what to do after darky makes stream debut?
+
+2024-03-01 keep in mind that rainy's emotions have been completely shut down while he was digitized; one of his first waking thoughts should be that he actually has emotion. So the digital version wouldn't necessarily mind being destroyed or put to sleep now that his work was done, because he's left-brain only; there was no emulation of emotion, only enactment of purpose. Also that the hard drives in RAID are done entirely for the purpose of redundancy.

streamUniverse/reprobatereveal_001.fountain

@@ -0,0 +1,62 @@
+Title: reprobatereveal
+Credit: Written by
+Author: Nathan Lindsay
+Notes: notes app 2022-07-25 @ 3:56am
+
+Raincloud and Reprobate are sitting atop [idk] eating an unhealthy amount corn dogs and fries.
+
+RAINCLOUD
+Why have you got to be so dramatic?
+
+REPROBATE
+Seriously? I don’t know how else I’m supposed to work. Do I just walk right in unannounced? Or maybe just start slowly dissociating you? My name’s not freaking Gabriel. Best to just get it over with quick and move on, if that’s *dramatic* to you I don’t know what to tell you man.
+
+As Reprobate speaks, he attempts to dip his corn dog in fry sauce. The sauce cup is too small, so he flicks it out of existence in a magical purplish smokey disappearance. The effect has two distinct layers, one the color of rainy’s scales, the other of reprobate’s accenting it. He conjures a brandless bottle of fry sauce and ejects its seemingly infinite contents into the boat of fries. His dipping efforts are satisfied by this.
+
+RAINCLOUD
+We could have talked about it, we’re talking about it right now.
+
+REPROBATE
+All of this is figurative, we’ve been talking about it this entire time if you really think about it.
+
+RAINCLOUD
+Well isn’t that just splitting hairs…
+
+Reprobate conjures another corn dog. As he unsheathes it, he gives it comedic length. Raincloud looks across the cosmos of their shared consciousness.
+
+RAINCLOUD
+Okay it’s really weird we’ve got ears this time around. Actual ears!
+
+He holds them incredulously. Reprobate twitches his curiously.
+
+REPROBATE
+I know! I’m surprised we can even move them ourselves, you’d think we wouldn’t know how. Actually, didn’t you give us them yourself, on purpose? You designed our body.
+
+RAINCLOUD
+Yeah, I thought I’d try em out this time around. I remember I used to see other dragons with them and I’d think, ‘oh wow, they’re so ugly, they look incredibly bovine, disgusting.’ but they’re pretty cute right?
+
+REPROBATE
+Yes, indubitably.
+
+Reprobate conjures another, even longer corn dog. Raincloud watches him, cringing slightly.
+
+RAINCLOUD
+You’re going to get fat if you keep eating those.
+
+REPROBATE
+(defensively)
+I’m a growing boy! I need *something* to keep me going. Besides, how do you think we’re supposed to maintain these curves?
+
+He pauses to huffily dip his dog and take another bite.
+
+REPROBATE
+(muffled)
+And so will you!
+
+RAINCLOUD
+Wait, did you edit my genetic template when I was building our body? I knew something was off when I woke up. I thought something had gone wrong, that freaked me out!
+
+Reprobate’s head is turned away. We build up to him slowly turning. His eyes are murderous. Extreme close up.
+
+REPROBATE
+Rainy. We need these thick thighs.

streamUniverse/reprobatereveal_002.fountain

@@ -0,0 +1,62 @@
+Title: reprobatereveal
+Credit: Written by
+Author: Nathan Lindsay
+Notes: notes app 2022-07-25 @ 3:56am
+
+Raincloud and Reprobate are sitting atop [idk] eating an unhealthy amount corn dogs and fries.
+
+RAINCLOUD
+Why have you got to be so dramatic?
+
+REPROBATE
+Seriously? I don’t know how else I’m supposed to work. Do I just walk right in unannounced? Or maybe just start slowly dissociating you? My name’s not freaking Gabriel. Best to just get it over with quick and move on, if that’s *dramatic* to you I don’t know what to tell you man.
+
+As Reprobate speaks, he attempts to dip his corn dog in fry sauce. The sauce cup is too small, so he flicks it out of existence in a magical purplish smokey disappearance. The effect has two distinct layers, one the color of rainy’s scales, the other of reprobate’s accenting it. He conjures a brandless bottle of fry sauce and ejects its seemingly infinite contents into the boat of fries. His dipping efforts are satisfied by this.
+
+RAINCLOUD
+We could have talked about it, we’re talking about it right now.
+
+REPROBATE
+All of this is figurative, we’ve been talking about it this entire time if you really think about it.
+
+RAINCLOUD
+Well isn’t that just splitting hairs…
+
+Reprobate conjures another corn dog. As he unsheathes it, he gives it comedic length. Raincloud looks across the cosmos of their shared consciousness.
+
+RAINCLOUD
+Okay it’s really weird we’ve got ears this time around. Actual ears!
+
+He holds them incredulously. Reprobate twitches his curiously.
+
+REPROBATE
+I know! I’m surprised we can even move them ourselves, you’d think we wouldn’t know how. Actually, didn’t you give us them yourself, on purpose? You designed our body.
+
+RAINCLOUD
+Yeah, I thought I’d try em out this time around. I remember I used to see other dragons with them and I’d think, ‘oh wow, they’re so ugly, they look incredibly bovine, disgusting.’ but they’re pretty cute right?
+
+REPROBATE
+Yes, indubitably.
+
+Reprobate conjures another, even longer corn dog. Raincloud watches him, cringing slightly.
+
+RAINCLOUD
+You’re going to get fat if you keep eating those.
+
+REPROBATE
+(defensively)
+I’m a growing boy! I need *something* to keep me going. Besides, how do you think we’re supposed to maintain these curves?
+
+He pauses to huffily dip his dog and take another bite.
+
+REPROBATE
+(muffled)
+And so will you!
+
+RAINCLOUD
+Wait, did you edit my genetic template when I was building our body? I knew something was off when I woke up. I thought something had gone wrong, that freaked me out!
+
+Reprobate’s head is turned away. We build up to him slowly turning. His eyes are murderous; all we see are the galaxy that effectively makes up the whites of his eyes. Extreme close up.
+
+REPROBATE
+Rainy. We need these thick thighs.

streamUniverse/reprobatereveal_003.fountain

@@ -0,0 +1,66 @@
+Title: reprobatereveal
+Credit: Written by
+Author: Nathan Lindsay
+Notes: notes app 2022-07-25 @ 3:56am
+
+/*perhaps what they stand on is a garbled version of the walk in closet or a pc component or something like that. all I know is I want them to have a magic fight within their shared consciousness that resolves in them stopping fighting, nebula vs gamorra guardians 2 style.*/
+
+Raincloud and Reprobate are sitting atop [idk] eating an unhealthy amount corn dogs and fries.
+
+RAINCLOUD
+Why have you got to be so dramatic?
+
+REPROBATE
+Seriously? I don’t know how else I’m supposed to work. Do I just walk right in unannounced? Or maybe just start slowly dissociating you? My name’s not freaking Gabriel. Best to just get it over with quick and move on, if that’s *dramatic* to you I don’t know what to tell you man.
+
+As Reprobate speaks, he attempts to dip his corn dog in fry sauce. The sauce cup is too small, so he flicks it out of existence in a magical purplish smokey disappearance. The effect has two distinct layers, one the color of rainy’s scales, the other of reprobate’s accenting it. He conjures a brandless bottle of fry sauce and ejects its seemingly infinite contents into the boat of fries. His dipping efforts are satisfied by this.
+
+RAINCLOUD
+We could have talked about it, we’re talking about it right now.
+
+REPROBATE
+All of this is figurative, we’ve been talking about it this entire time if you really think about it.
+
+RAINCLOUD
+Well isn’t that just splitting hairs…
+
+Reprobate conjures another corn dog. As he unsheathes it, he gives it comedic length. Raincloud looks across the cosmos of their shared consciousness.
+
+RAINCLOUD
+Okay it’s really weird we’ve got ears this time around. Actual ears!
+
+He holds them incredulously. Reprobate twitches his curiously.
+
+/*this line doesn't make sense if reprobate snuck in the thicc thighs... must rewrite.*/
+
+REPROBATE
+I know! I’m surprised we can even move them ourselves, you’d think we wouldn’t know how. Actually, didn’t you give us them yourself, on purpose? You designed our body.
+
+RAINCLOUD
+Yeah, I thought I’d try em out this time around. I remember I used to see other dragons with them and I’d think, ‘oh wow, they’re so ugly, they look incredibly bovine, disgusting.’ but they’re pretty cute right?
+
+REPROBATE
+Yes, indubitably.
+
+Reprobate conjures another, even longer corn dog. Raincloud watches him, cringing slightly.
+
+RAINCLOUD
+You’re going to get fat if you keep eating those.
+
+REPROBATE
+(defensively)
+I’m a growing boy! I need *something* to keep me going. Besides, how do you think we’re supposed to maintain these curves?
+
+He pauses to huffily dip his dog and take another bite.
+
+REPROBATE
+(muffled)
+And so will you!
+
+RAINCLOUD
+Wait, did you edit my genetic template when I was building our body? I knew something was off when I woke up. I thought something had gone wrong, that freaked me out!
+
+Reprobate’s head is turned away. We build up to him slowly turning. His eyes are murderous; all we see are the galaxy that effectively makes up the whites of his eyes. Extreme close up.
+
+REPROBATE
+Rainy. We need these thick thighs.

streamUniverse/reprobatereveal_004.fountain

@@ -0,0 +1,64 @@
+Title: reprobatereveal
+Credit: Written by
+Author: RaincloudTheDragon
+Notes: notes app 2022-07-25 @ 3:56am
+
+/*perhaps what they stand on is a garbled version of the walk in closet or a pc component or something like that. all I know is I want them to have a magic fight within their shared consciousness that resolves in them stopping fighting, nebula vs gamorra guardians 2 style.*/
+Raincloud and Reprobate are sitting atop [idk] eating an unhealthy amount corn dogs and fries.
+
+RAINCLOUD
+Why have you got to be so dramatic?
+
+REPROBATE
+Seriously? I don’t know how else I’m supposed to work. Do I just walk right in unannounced? Or maybe just start slowly dissociating you? My name’s not freaking Gabriel. Best to just get it over with quick and move on, if that’s *dramatic* to you I don’t know what to tell you man.
+
+As Reprobate speaks, he attempts to dip his corn dog in fry sauce. The sauce cup is too small, so he flicks it out of existence in a magical purplish smokey disappearance. The effect has two distinct layers, one the color of rainy’s scales, the other of reprobate’s accenting it. He conjures a brandless bottle of fry sauce and ejects its seemingly infinite contents into the boat of fries. His dipping efforts are satisfied by this.
+
+RAINCLOUD
+We could have talked about it, we’re talking about it right now.
+
+REPROBATE
+All of this is figurative, we’ve been talking about it this entire time if you really think about it.
+
+RAINCLOUD
+Well isn’t that just splitting hairs…
+
+Reprobate conjures another corn dog. As he unsheathes it, he gives it comedic length. Raincloud looks across the cosmos of their shared consciousness.
+
+RAINCLOUD
+Okay it’s really weird we’ve got ears this time around. Actual ears!
+
+He holds them incredulously. Reprobate twitches his curiously.
+/*this line doesn't make sense if reprobate snuck in the thicc thighs... must rewrite.*/
+
+REPROBATE
+I know! I’m surprised we can even move them ourselves, you’d think we wouldn’t know how. Actually, didn’t you give us them yourself, on purpose? You designed our body.
+
+RAINCLOUD
+Yeah, I thought I’d try em out this time around. I remember I used to see other dragons with them and I’d think, ‘oh wow, they’re so ugly, they look incredibly bovine, disgusting.’ but they’re pretty cute right?
+
+REPROBATE
+Yes, indubitably.
+
+Reprobate conjures another, even longer corn dog. Raincloud watches him, cringing slightly.
+
+RAINCLOUD
+You’re going to get fat if you keep eating those.
+
+REPROBATE
+(defensively)
+I’m a growing boy! I need *something* to keep me going. Besides, how do you think we’re supposed to maintain these curves?
+
+He pauses to huffily dip his dog and take another bite.
+
+REPROBATE
+(muffled)
+And so will you!
+
+RAINCLOUD
+Wait, did you edit my genetic template when I was building our body? I knew something was off when I woke up. I thought something had gone wrong, that freaked me out!
+
+Reprobate’s head is turned away. We build up to him slowly turning. His eyes are murderous; all we see are the galaxy that effectively makes up the whites of his eyes. Extreme close up.
+
+REPROBATE
+Rainy. We need these thick thighs.

themisunderstood.fountain

@@ -0,0 +1,4 @@
+Title: _The Misunderstood_
+Credit: Written by
+Author: Nathan Lindsay
+Notes: dream 6/25/21

twokinds/twokindsrewrite_001.fountain

@@ -0,0 +1,292 @@
+Title: twokinds rewrite
+Credit: written by
+Author: Thomas Fischbach
+Credit: adapted by
+Author: Nathan Lindsay
+Copyright: troublesome
+
+EXT. FOREST CLEARING
+
+**Birds chirping.** Sun shining. A MAN, 24, blue hair, blue triangle on his left cheek, lies in the grass. His eyes are closed. He wears a white shirt with blue stripes, traveling pants and boots. On the grass next to him lies a pack, a scabbard, and a shortsword. A VOICE emanates seemingly from within his mind.
+
+EPHEMURAL
+Awake.
+
+His eyes open. He stares up at the blue sky. It's all he sees.
+
+TRACE (V.O.)
+Blue.
+
+He stirs. He flops over to one side, disoriented. The forest and clearing is revealed to him.
+
+TRACE (V.O.)
+Green. Trees. Grass. Flowers. Yellow.
+
+He struggles to sit up. He seems to instinctually know how to control himself, but not consciously. His expression is dazed and confused. He looks down at his hands, which he twitches.
+
+TRACE (V.O.)
+Hands. Fingers.
+
+He gets up. He finds his balance easier this time. He looks around at the peaceful clearing, noticing his equipment and noting objects as they enter his view.
+
+TRACE (V.O.)
+Bushes. Green. Pack, sword. Mine.
+
+He picks up the two of them. He's even more confused.
+
+TRACE
+Mine?
+
+His voice startles him. He feels at his throat. He vocalizes again, slower.
+
+TRACE
+Mine, my... voice?
+
+TRACE (V.O.)
+Speech. Language. Communication.
+
+He closes his eyes and feels his head.
+
+TRACE
+Who... am I?
+
+FEMALE VOICE
+HELP!
+
+He's frightened by the screaming. He whirls around, looking for its source, instinctually, albeit haphazardly, waving his sword in the air. His pack swings from his hand.
+
+FEMALE VOICE
+HELP! HELP!
+
+TRACE
+Help? Help.
+
+He slings his pack onto his back. He dashes in the direction of the mysterious communicator.
+
+FEMALE VOICE
+HELP! HELP!
+
+TRACE ^
+Help. Help.
+
+CUT TO:
+
+In the forest, A MAN wearing nondescript clothing and weilding a falchion, sadistically shoves a TIGER LADY to the ground. She's an anthropromorphic humanoid creature, long brown hair, orange fur, black stripes, wearing a blue shirt, brown pants. She cowers, terrified, tears in her eyes, as the falchion points at her face. The man looms above her.
+
+MAN
+Here kitty, kitty. Shouldn't you know better than to stray this far into human lands?
+
+The tiger whimpers. The man laughs.
+
+MAN
+I think I'll sell your head first. Then your hide, I could charge a fortune!
+
+TIGER
+No!
+
+Trace appears from behind the man, rustling through the bushes. He's covered in twigs and small scratches. He haphazardly runs toward the two of them.
+
+TRACE
+Hey! Leave her alone!
+
+The man turns around. His face falls at the sight of the blue-haired fellow.
+
+MAN
+Grand Templar!
+
+TRACE (V.O.)
+Templar...
+
+MAN
+My apologies, Master Templar. I did see it first, but the Keidran's all yours. Bye Trace.
+
+[[the man, who is Ephemural in disguise, wouldn't have much reason to explain to him more. But she does want to set Trace on a path of hurting Flora, so she does call her vicious to try to plant a seed. However, the staged "saving" has endeared Trace to Flora, and soon Flora will return the favor by helping him understand.]]
+
+TRACE
+Bye...
+
+He doesn't seem to remember what it means. The man turns his back on the others.
+
+MAN
+Though you may want to dispatch her quickly. She seems a vicious one.
+
+He laughs, quickly disappearing behind a tree. Trace just stands there, sword still raised. He looks down at her, pointing his sword.
+
+TRACE
+Vicious?
+
+The tiger stares innocently at him, apprehensive at his sword, which he lowers.
+
+TRACE
+Sorry. You alright?
+
+He seems suprised at his own words again. The tiger stares, not answering. She stands, takes one slow step, and tackles him.
+
+TIGER
+Nya!
+
+Trace shouts in suprise. But it was just a hug. She purrs.
+
+TRACE (V.O.)
+Hug. Thanks? ... Purring.
+
+TRACE
+Cat? Tiger.
+
+She takes a step back, tilting her head.
+
+TRACE
+Can you speak?
+
+[[speak english, immediately!]]
+
+She chuckles.
+
+TIGER
+Of course, don't you know anything?
+
+TRACE
+I... No. I don't suppose I do.
+
+TIGER
+Mrr?
+
+TRACE
+I woke... only a few minutes ago. I don't know anything, I don't know where I am or who I am or what I'm doing or how I'm even speaking right now or how to stop speaking or what to do next.
+
+He takes a deep breath, stressed.
+
+TIGER
+You *don't* know anything?
+
+Trace shakes his head.
+
+TRACE
+Nothing. Not even my own name. Though I think that guy called me the Grand Templar. Templar...
+
+TIGER
+*You're* the Grand Templar?
+
+TRACE
+Your guess is as good as mine!
+
+TIGER
+You seem nicer than I thought he'd be. I mean, you saved me.
+
+TRACE
+Thanks? I don't even know what a Templar is.
+
+TIGER
+That's a type of human. The worst type, really.
+
+TRACE
+Oh. I'm sorry. Why is that?
+
+TIGER
+They control everything. They kill and sell my kind into slavery. All because they have magic.
+
+TRACE
+Magic?
+
+TIGER
+Yes, magic. You know, making things float and blasting people and stuff.
+
+TRACE
+I can make things float? Like this?
+
+He holds his sword up. She laughs.
+
+TIGER
+Mrehehe! No, silly. That's not magic.
+
+TRACE
+Oh.
+
+He finally sheathes his sword, putting his hands up to his head.
+
+TRACE
+This is going to take a lot of time. It's like everything is still there, but I can't make myself remember anything.
+
+TIGER
+Well, maybe I can help you remember. Say, I could help you find your way to the next town or city. I'm pretty sure there's one nearby. Plus, I owe you one for saving me from that human.
+
+TRACE
+Thanks! ... Where do we start?
+
+TIGER
+Mrehe! Probably that trail there. Check your pack, you probably have a map in there. Even if you don't remember packing one.
+
+Trace kneels to search his pack.
+
+TRACE
+Seems trivial to me. I could do without remembering why I'm here if I could just figure out *who* I am. Found it!
+
+He holds it up.
+
+TRACE
+I know this is a map, but I don't know what a map is or what it does.
+
+TIGER
+It shows you where you are so you know the way.
+
+TRACE
+Ah.
+
+He drops the map on the ground uncerimoniously and points at it.
+
+TRACE
+Show me the way, map!
+
+She giggles her feline giggle again. Trace grins sheepishly.
+
+TIGER
+I'll help you.
+
+CUT TO:
+
+Wide of the Tiger and Trace kneeling to examine the unfolded map. The man who threatened her before comes into view, watching them from afar in a tree. He transforms, revealing a figure with long, gray hair, shrouded by a mask with glowing yellow eyes.
+
+EPHEMURAL
+Yes, good. Taking his memories was a stroke of genius. My greatest enemy has become my greatest asset. What better way to protect the girl than with the human himself? Now I just wait...
+
+CUT TO:
+
+Map of the local area. Large forest shows a trail going towards the town of **Pinewood**. The tiger's finger points at it.
+
+TIGER
+There! I think it's not too far, we just have to follow the trail that way.
+
+TRACE
+It looks like it's only a couple hours' walk. Though I guess we will have to make a stop before we hit it.
+
+She grins at him.
+
+TIGER
+You don't seem to be having any trouble with the map now.
+
+TRACE
+That's the thing. I seem to instinctually *know*. Just not *remember*.
+
+TIGER
+Well, if you can remember how to walk, we'd better get going.
+
+They stand, Trace folds the map.
+
+TIGER
+My name is-
+
+TRACE
+Flora.
+
+FLORA
+Wha- how did you know?
+
+TRACE
+I... I don't know.
+
+Flora looks at him, troubled.
+
+FLORA
+I guess we'll find out. And we'll find out your name.
+
+The two of them begin walking.