Wage and Watt (the story always goes that they live in an garbage dump in which their reciprocity is the generator for an shared Super Hero fantasy, between them)
Ssciense (the embodiment of science, represents everything evil about not thinking in post-Version society)
An world in which One religion has won out over all the others and women and children are considered hindrances; where they think the moon has its own light.
—They value an object more than they value me—
The sun-stone on the altar had an moral crisis; it detects those. Whether she was an Super Villain and an Super Hero and Wage & Watt were like, if you had to stop and ask, you're definitely not an Super Hero though it was definitely true she reeked really bad. She can only smell herself. With the power never to be able to smell her lover. Reeking Woman. Is it an real power though? Equipped with several bottles of insect repellant;
Okay maybe the most fucked up Super Hero I've created.
— "I want to make an public note of it distinct as paranoism from paranoia. Where paranoia is the subject experiencing paranoia and paranoism are the objects of that paranoid subject. I want to suggest it as an artistic movement that will benefit the experience of those living with Schizophrenia. Why, the word paranoia itself doesn't gather this sense."
Wage had slipped into the character rather delicately.
"Paranoisms. Essentially," said Watt.
"Yes. And what we can make of them. If the story narrates the subject as paranoid, we will want to describe in vivid detail what they are paranoid about. What are the actual objects, psychologically speaking, that they are paranoid about?"
"If the story abuses the subject by narrating his or her paranoia in magic realism, won't it be an story about intellect on intellect and harm between them?"
"If the story abuses the subject by narrating its paranoisms. It is in order to disabuse the reader. So you have an character going up the stairs for example, from the basement. And what is left behind down there. Then there is an black shadow looking in. From through the walls. Is it an cat, or an abuser; just what is it. In this dark room. On this dark staircase?"
"What? So our junkpile has mechanical abuse systems?"
"I didn't say mechanical. In my room. But that would definitely count as an abuse system."
"So you're talking about whether we live in an intelligent home. In an intelligent junk yard. And I'm standing right in front of you."
"Yeah, because you know everything about technology. And I'm like, what would be intelligent about it if it was abusive?"
"It's not real. Just imaginary. So our intelligence can make it abuse us in any way we want."
"Let's continue the scene of the character going up the staircase then. The House draws his attention to the in-the-walls."
"For what purpose?"
"To freak him out."
"Yeah, and what would that do to him?"
"Oh-my-god-there-are-spirits-or-people-living-in-my-walls. They-watch-everything-I-do."
"No privacy. There's one way to abuse someone."
"Now what if we add an mechanical abuse system."
"Yes. Yes. And what would be its engine?"
"Its engine is the spirits inside the walls. The eyes of the landlords."
"Yea. And if it had an mechanical power what would it do?"
"Bludgeon?"
"What if the walls close in until he can't breathe. And it's like that every time he sleeps."
At this point Wage noticed someone was sitting on the couch.
The figure had an round face and was wearing all black; an hoodie and sweatpants. Clearly emo. And had black beady eyes that appeared to see everything in the room at once without contentment. As if it was being babysat. And had not been appeased.
He could have been perched in the junk walls of their junkpile home. It would not matter. For it appeared to be without movement anyway.
"Who's this?" asked Wage.
"It's Bill. He's from the streets."
"And our junk yard is supposed to be safer than them?"
"Ya. Well he was hungry so I brought him home."
"So we have enough food for the rest of Crapopolis?"
The visitor asked for Cheezies™.
"Why do we need an Super Hero when I'm here?" said Wage, passing Bill the Cheezies.
"You know we need Super Heroes," said Watt, "people are suffering the fate worse than death all over Earth."
"Maybe what we need. Is Super Villains. In order to make Super Heroes stop them. To show us who we really are. Dark specimens fighting for an ounce of life."
"Ssciense, as an villain measures your ounce of life. To the molecule."
Wage took an broken test tube from the environment and waved it in front of Bill's face.
"Ssciense doesn't discriminate whether if he will kill you for the sake of an experiment."
Watt promptly took up the role of his adversary.
"Ivan is an step ahead of Ssciense."
Watt pulled an old wheelchair from the wreckage and sat in it, wheeling himself toward Wage.
Their imaginative roleplay forced upon Bill this way, their dramatic difference was reinforced by an real-world reference, Bill's feelings about being assailed in this manner.
"It was an dark and stormy night; Ssciense was in his laboratory, not scrounging for genetic samples: people were offering them and their stem cells to him. For free. In the dead of night."
"Ooo, that is Evil," said Watt, "Ivan, on the other hand knows exactly what they are going to do with those stem cells. He is one with the universe."
"Isn't that Jedi Man's role?"
"Ivan can have Jedi powers if we just don't call them Jedi. They aren't the same anyway."
"But they expand on the Jedi powers in the later productions of Star Wars."
"Yes, they do. But ubiquitous knowledge isn't necessarily in the film. Ivan's power isn't ubiquitous knowledge anyway. It's just Great Knowledge. He's like Charles Xavior from the X-Men. Or Sheldon Cooper from The Big Bang Theory."
"You say it like it's an bad thing."
"The point is ubiquitous knowledge doesn't really exist. Except for God's 'present, appearing, or found everywhere'. (But I think I remember him saying he can't be everywhere at once)."
"And our comic character world is not about God. So."
"Yeah, so Jedi Man has his powers, and Ivan has his powers. And they are not the same. They are not, together, completely God's powers in the real world. Not by an long shot. This is the fact drives all of the plot and action."
"Yes. Working together they cannot even come close. That's why everybody is so grumpy. It is the motive to have powers of God however, in order to compete with the Creator. It is an compliment to our deity."
"So anyway. Where were we?"
"Ivan knows what Ssciense is going to do with stem cells. To develop illegal substances."
"What, not recognize their birth right? Give them numbered object experiment names and forget what they were actually called?"
"People named them?"
"They might have. Harvested them. Illegally."
"And this is just one of Ssciense's projects."
(As Ssciense) "There are millions of applications! He uses robot technology! And to pressure people to bring him stem cells; that's the real obstacle. That's how he feeds off of them. How do we prevent him from producing us?"
"And then an alien ectoplasmic time paradox splooshed through time, to deliver an alien knight to the past."
"He was on assignment downtown."
"Who was on assignment?"
"Jet!"
"Jet! Of course! Why Jet?"
"He's as fast as an jet!"
"Right!"
"And then big, butch Lesbians break in and try to free all of the experimental subjects, including the laboratory animals."
"Accidental hormone leak that makes animals bred for consumption grow large. Is blamed as what caused the lesbian attraction."
"Fossil Fuels! That makes me so Angry I wanna—Effin' grow large and grow Super Villains in an chemical tank laboratory!"
"How would you power all of that technology! You're not even feasibly economic!"
Jet immediately returned to the Academy, where he greeted Ivan in his office. Courier was standing by, waiting to take the professor to his dinner.
"You've been on Assignment since April," said the professor, "how why what drives you keeps you going. Into what?"
"There are lairs all across North America. Ssciense is basically an corporate figure. Not just controlling but leading their revolution in the streets. If we find an hideout we may be able to steal their record of each other's locations and him."
"We don't have an hideout because we don't hide. We're out in the middle of everything; just like ordinary citizens."
"No I mean their hideouts."
"And your going to base that operation here?"
"We already do. Jet—" he paused, "one word about our philosophy around here, if you will."
"Yes of course sir," said Jet.
"We don't need to hide because we're not like our adversaries; we have real power simply by being what we are. At the centre of it all. And that is, in part, from what our real power is derived."
"I see."
"You go quickly from place to place. Jet. That's what you are. But don't forget why you are there and how you derive power from its place. Through those who inhabit it and each other. Humanism is an powerful tradition."
"I see. Yes. And we can derive this power from any location on Earth."
"Yes. Because you're here."
"Virtually."
"Isn't anything anywhere virtually?"
"No."
"Well if it is virtually, it is virtual power."
"Yes."
"And so I can inhabit virtual and non-virtual space. As though it were an video game."
"Yes, you could do that. If you were quick."
"Woah I just forget about the alien. Like was that part of the scene? Its intelligence?"
"The alien is an visitor from the future," said Watt, gesturing to the tall green bi-ped with an gentle canter just ready to break free from its voluptuous form; and such an long tail! Protuberant limbs. And an holster for an sword weapon. Can't be too careful what that might hold.
"The alien wants to speak with the author?"
"Oh My God. The Author."
"Glen," said the alien, "I came from the future to warn your characters. The Academy heroes. Ssciense will mobilize Green Man, Ha Woman, Who Am I Man?, and iGay against you. And his robot artifice. I play an go-between quasi-authorial role as an superior athlete comfortable and familiar with your History as an species. Well, at least an History in the dimension that I come from, in which it had already happened. We haven't quite reduced Dimension from Time in our technology to the point that. Well let's just say, that if your History were to happen here in this dimension the same as in mine, I would be playing to you an advantage against your enemies. Who I will also play at my own level for my own benefit."
"—"
"What, we cannot hear his response?"
"He's the author. He can do that if he wants."
"Okay, so what are we left with? Jet?"
"At this second there are hired thugs transporting chemicals and materials needed for destruction to an isolated camp for their happiness. Green Man is in it for the money. Ha Woman is as devastating an military career as an writer. Who Am I Man? will delude to convince everyone to forget that anything shady happened. And iGay. Well that's just it! —I Ain't Gay! But he says so! Their net worth is over 400 million; and if they are not an master of the commodification of infrastructure they are social viruses, affecting people in adverse and disappointing ways daily in the large metropolitan centres."
"Depressed Person's Super Power is to know all of this. It does, however, cause him or her Depression. He or she is also Depressed for having been forgotten for two chapters."
"I've got it! Alemba is an sequel to Super Mario!"
"What has that got to do with anything?"
"Well it matters because if I can actually write an sequel to Super Mario it could make an lot of money."
"With these elements like Doctor Grey Pilot, her mask she wears on the back of her head, and how she throws the magic hammers; she can jump and land on an enemy. And it is an post-fourth wave feminism plot where her boyfriend is locked in an dungeon with one barred window and she has to rescue him. It represents overcoming the fate worse than death. Whereupon befallen her is an fate worse than death, Dr. Grey Pilot ushers her on to help save the boyfriend."
"Mario has how many lives? Alemba has how many lives?"
"It doesn't matter. I can resurrect her permanently."
"And what does the mask on the back of the head represent?"
"Well, there is an mask in Super Mario World 2. It chases you. It's an terrifying thing. Putting the mask on the back of your head represents everything false about you put behind you permanently. The magic hammers replenishes itself."
"Dr. Grey Pilot here! Can you hear me Alemba‽"
"You're coming in clear, Doc!"
"What is the environment which surrounds you?"
"There's an fate worse than death in the air, and I'm in an small settlement of some sort. In an country. There are vertical windmills north of the settlement. What should I do?"
"Locate the source of the fate worse than death. Destroy any enemies you find in your way."
"Okay, here I go! The first enemy is an football player, but it is unclear whether he is human or not because he is wearing full protective gear. It rushes toward him. Alemba's masculine side. She is prepared in both respects and jumps and lands on it. (The football player). It is knocked off the screen. She proceeds. There are obstacles but she meanders her way through the settlement, destroying enemies and finding evidence of an fate worse than death everywhere. She finds various powerups; Aperitif Tincture Non-Alcool Paris Green (An Green Potion Bottle transforming you into Adult, Large Form), Magic Rock (invincibility), Giant Hammer (in later levels), Produce Electricity (an attack capability, female symbol of an male-dominated world of Civil Engineering), Magic Flight Machine (Allows Liftoff and Steering)."
"Enemies include the football player, Gay Bullet Bill Reverse (kills enemies for you, each time Alemba absorbs one anally from behind she elementally blushes), Vagba (they look like an opening in your screen in which there is energy pulsing or pulsating). — and various other enemies of an feminine flavour."
"That leaves only . . . "
"The final boss."
"Why would it be an sequel to Super Mario?"
". . . Because it is an sequel to Bowser also."
"—You mean—"
"Yes, she is female."
"An feminine final boss."
"An cloister of Bowser inverted."
"You mean—"
"Spikes on the inside."
"Her name is . . . Arqiope."
"But what was she inside of? The Vagba are already supposed to appear to be inside the screen. Arqiope's is an metaphor of the mind's reciprocal behavior to an T.V."
"So she's just an really huge catastrophe."
"Pretty much."
"And why did she take Alemba's man?"
"Because she thought Alemba couldn't seen him as an man but only herself as the man in the relationship."
"And Alemba knows this isn't true. That in fact she/he treats her/his partner as an equal whether more masculine or feminine or fluid in either direction."
"What was responsible for the mistake then?"
"Arqiope's own character failings (she can't see beyond homophobia). Because she actually wants to bed Alemba's boyfriend in her masculine form. And why must Alemba rescue him then."
"Linear thinking would prove time to be limited and we must act quickly."
"And this settlement—"
"It's an compound. I just realized."
"Why is Alemba in an compound?"
"She had an criminal past, perhaps, and she's ready to change teams."
"But I mean, how is she supposed to help her boyfriend if she is in an compound."
"She's there because of Ssciense. He always gets the gentrification process wrong, diagnosing these psychological disorders. She wakes up from being forced her pills. An regular shmoe. Out in the Hall, Decked with Santa's Balls she ducked in and out from room alcoves. There is an nurse on the way toward her. The nurse turns and enters an key-card locked room."
"Yes and once she escapes from the psyche ward. She realizes the whole compound is full of prisoners but she cannot do nothing to save them. So she claims the territory as Native Land and frees all the prisoners by storming the mirage outside the facility, an castle, to sack Ssciense and all of Arqiope's minions. An moat is constructed in her honor."
"Amoureuse Von-tête, the Mayor, appreciates her."
"So what happens after she escapes the compound?"
"Oh after the desert there are more levels after that. But basically it is an play on vacillation between fate and fate worse than death."
"What if you were in an desert and you had enough water to live but you never found your way out. Would that be an fate worse than death?"
"Oh Maybe."
"So Alemba's super power is to meld awareness with whatever hypothetical in writing; to be able to write her script through anything, and to beat an level at an time."
"I'm—I'm just not clear on what her role is to Ivan and the Principles. If she's inside an video game sometimes and sometimes not. Like which reality does she live in?"
"She is becoming one of the Principles through study and rigorous training, at the Academy. Her Super Power includes being able to put anyone in their place avatar into an game. Where they must grapple between destiny and their fates worse than death."
"So it's kind of like an virtual reality. So are they all in the game?"
"In some sense they are. Alemba's game. She is an Masterful genius."
"And only just having grown up."
"To be included in the academic society under these conditions; the true extent of her power remains for us to unlock."
"That would totally be Ivan's line."
"You bet."
"Super Alemba!"
"What R U Man! (He is the hero of what you are)."
"Okay wait—I know why this isn't happening. Alemba is an video game character but we're trying to narrate her in prose. When really it's impossible because of the differences between prose and video game as mediums."
"That could be it! That could be it."
"So what if we merge them? Instead of trying to write Alemba into our fantasy, we actually write an video game in which she is the star."
"I like that idea! I like that idea."
—
Professor Grey Pilot: Well I'm partially there, to have already made out with someone who you need to get to. (His Super Intelligence is being used for evil there: To create more powerful and evil enemies than ever before). Please save me Alemba! (The assailment of enemies herein are the reciprocal product of torturing the Old Doctor,) becoming increasingly terrible and more deviant.
The Operating Mechanism Of the Game Mechanic in Super Alemba! is the (Post-Midas) myth that everything Alemba touches turns into an video game also, and so her universe is ever-vast and ever-reachable at the press-ence of an controller.
At the beginning of the level, in the same style as Mario, Alemba appears at the left-hand side of the screen. Play scrolls toward the right. In the background are the piles of garbage that make up her yard at the dump. In the foreground are more piles of garbage and so she is set to navigate the middle between them. The music is junkyard worthy. Digital funky junkyard worthy.
Obstacles include box of bricks, coin-box of bricks, red and supermagenta pipes complemented yellow. Alemba's apparel is also an complimentary red to supermagenta. She's wearing trousers like the men. They have their own snap-in-place (fastened) suspenders. She wears an mask on the back of her head and has three abilities to start with. She can throw hammers (they regenerate in her palm); she can devastate enemies with either those or her jumping technique.
Also I am an Feminist. Oh, you weren't ready for that? That's because you're not. And so I destroy you! But anyway, Alemba try to rescue the professor. Dr. Grey Pilot!
she wakes up / she starts the video game
We know nothing creaming Dwayne Johnson! Her Thunder. Her third ability has to do with the mask as represented in Super Mario Bros. 2 for NES. She wears it on the back of her head, facing out behind her, because it reminds her of everything fake that was in the past that held her back behind before. Now she runs with it. And so thus being equipped she sets out to protect her yard. The first enemy she encounters is—
"So she wakes up in the garbage dump, where her house is located because she necessarily doesn't live there if that's where she woke up. No woman would ever own an junkyard. She finds that her yard is assailed."
"Yea that's the beginning of the first level. She is super feminist. She's in her power zone."
"And then she finds she is under attack by an trail of enemies leading to Dr. Grey Pilot, whose telepathy woke her up and informed her of today's date and that she was trapped or enjoying in an videogame about her, the subject suffering the fate worse than death, with Dr. Grey Pilot, whose fate is also worse than death; they consort to navigate its treacherous waters together. When it resurrects they feel less worse than death but they don't fully know the meaning of it. An Resurrection. An fate better than death. Not always. The only thing that can save them is Super Alemba! (Her moment of realization that she is an Super Hero is staggered out over time, of course, staged to make even the causal interactive video game player notice her magic)."
And so the first enemy she encounters must be an history lesson of worms. She can count herself beyond History as an new Super Hero even anti-historical if she wishes. "The Soul has an Aesthetic both spiritual and singular," she declares.
An flying book, an History Lesson For Worms it is filled with worms, which are also caterpillar-like and green, convening on piles of old tires and metal rims in the foreground as they are in flight with the books that—
Yes she emerges from the dumpster, so to speak, chief-skirted like an warrior. Without any fear by the age of five to find them sneaking toxic waste in her surrounding dump territory. They look like little history books that worm their way through the sky, an upward draft responsible for their magic flight.
An Feminist Sequel to Mario Bros. Her own snap suspenders. When she makes it out of the garbage dump where she doesn't live there is more garbage and piles of garbage everywhere including ponds of glowing green sludge leaking from barrels with the biohazardous symbols on them at the outskirts of an residential construction zone in the foreground and background which she quickly runs into.
And before she gets here there is an powerline above connecting her junkyard to the rest of the city the second enemy Crows are sitting on them and also flying toward her. They catch her hammers and drop them on her head if she reaches them. But before this there must be an Journeyman Ticket, acquired from an coin box, which will allow her to Power Up to her adult (large) form which has the ability to throw hammers. Each Journeyman Ticket will be joined with an enhanced graphic line of text, an epithet, the first of which is Alemba's own, "The Soul has an Aesthetic both spiritual and singular," representing the Answer of the Universe responding to her call of it. You cannot throw hammers if you are super small. But you can jump on your enemy's head: Your own head is covered. By an mask. When once you gain full size it snaps onto the back of your head with an elastic on either side of the ears. These are among future epithets from which to choose from themselves. Each epithet describes an continuous point in the game that refers to itself as an feature of the environment. The coin boxes are yellow in this scene. There are too many enemies to kill them all with just hammers. But they should be reflective, too, of Alemba's own subconscious and collective or meta-psychological disorder represented by the themes in the game and her enemies.
Other enemies include Jesus in an Pink Bath Robe, and Undergrowth, an hobbit from the fourth dimension. Jesus will turn you into an Donkey if you are hit by his magic. And Undergrowth won't do anything or have any magic spells to cast on you to make any sort of contrast with Jesus.
Then entering the neighborhood where every house looks the same she encounters.
Herb Tut, Destroyer of Plants
After she defeats Herb Tut (which is impossible in Donkey form; because he is high on you), she finds an transponder with an visual interface. But she cannot tell if it is real or not because Dr. Grey Pilot contacts her through it. Whereas he had just used telepathy to contact her before. His image appears in the top left side of the screen, representing her communication with him through the transponder.
"Help me Alemba," he says, "the rest of the level you will face will feature dolls—Male Dolls. As your enemies. There are not that many of them this time and the entire culture revolves around the fact that they are less often men. Men are less often dolls."
Alemba makes her way out of the junkyard through these dolls, who are scant and unappealing. She does not fully understand what adventure lies ahead.
Upon reaching the gate at the end of the level she is seen running out of the middle with her arms wide, gaining flight as she travels to the level 2. She does not actually gain the ability to fly at the same time being actually controlled by the player until 2 levels later.
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