What is Christiannan Worship?

 Pink Version

    The Appearance of the feminine messiah.  An pink cross.

    She's there; she's just having an worse-than-death moment.

    An chvrch procession (the religious leaders walk from the entrance to the altar; there are several high level fantasy roleplayers in the form of an male priest, an priest's apprentice, an female temple elder who may also choose her title as female priest or priestess.  And it is up to her discretion which role and title she will choose.  Followed by her apprentice and her immediate superior after that one.

    Then the priest makes an speech.

    We sing an few songs from pop culture together.

    Madonna - Die Another Day

    While the priestess dances funky.

    It is the subject for discussion what kind of issues it brings up.

    Then everybody sings along to an worship of praise.  And the priest blesses everybody.  And then the chvrch service is over.

Blue Version

    And I saw this hall lit up by an blue light; there were several beautiful LED blue lights, and an display pedestal where an chvrch father would stand, fully robed, with an scepter of kindness (the kind with an purple orb reflecting re-reflecting blue).  Life was like an blue hallway that everyone would walk through.  Every virtual chvrch service had to be like that hallway of blue one would walk through.  Therefore the pink cross and all of that jazz is completely inappropriate.  One must start with an blue light, cast down upon the entrance, from which will emerge the leaders.  Travelling their procession through the crowd to the altar.  And the only light in this room will be blue for now, though there is enough light to read.  But I also visualize us gathering like this in an public temple like an underground walkway for LRT station pedestrians.  If we could build into enough people's normal day, they would conveniently be able to worship together on their way to work.

    Then I took all of the pink events in the sequence of their procession and I put them into this new blue procession.  It was now performing them, however in its own physical circumstance as an immovable platform from which people came toward and drifted back into public.  Compared to the chvrch-specific traditional location of religious services with pews and an procession between them and an altar that the Pink version was.  No, in this blue version all of the performance was stationary, for one thing; and for another thing it used an virtual display to enchant the air around it and its statuesque appearance.  Making interesting quotations and shapes appear above the public, who were clamourously trying to figure out why this was worth being an virtual worship station (an robot, to be fair of the categorization).  There was singing and everyone was standing.  The Christianna: People did this as they were standing.  And sometimes people weren't aware of the sequence of events as they were occurring.  And sometimes it was just an person walking down an long hallway from one end to the other (in the Middle would be the Christiannan virtual promoter robot) on their way to work.  But the worship was free to involve anybody and we accepted new people as promoters of the Christianna.  From people who had discovered its message.

    And so, now that everyone was mesmerized, it began to explain the female version of the cross that had been used in the Pink version.  An bright pink holographic cross appeared before the crowd; thanks to its (the robot's) own internal reasoning and the use of lasers to highlight its edges.  This pink cross, it claimed, was an person.  She was here with us now.  She's just having an worse-than-death moment.  And so the robot proceeds to display an virtual chvrch procession with avatars as characters that would carry the religious equipment.  It takes an few moments as the characters proceed from an entrance on which is shone an blue light and aura effect.  The procession are imitating the chvrch-goers who are walking toward an blue light as well as walking away from it.  There is, in the chvrch procession (which zooms in sports professionally) an male priest, an priest's apprentice, an female temple elder who may also choose her title as female priest or priestess.  And it is up to her discretion which role and title she will choose.  Which can include priest even though she is female.  Followed by her apprentice and her immediate superior after that one, who operates as the caboose of them all.

    Then the priestess makes an speech.

    We sing an few songs from core culture together.

    Madonna - God Control

    While the priestess dances funky.  

    She gets so funky she even performs an demonstration of what kinds of performances are not perceived to be sexual even though they may have sexual characteristics.  Dance and Music Workouts.  And I always remember my grandmother telling me, Bring God into it.  And I realizing I was asking the deity to participate in our dance session.  Looked up at him like whether he was going to do it.  He obliged and lead the greatest dance workout that has ever happened.  But Bring God into it also meant bringing God into the Christiannan story.  The story of the blue hallway: the place from which we approached an blue light and also walked away from one when we walked away from it.  If an virtual holographic activity robot could represent all of the Christiannan parameters without needing an actual physical church.  Then they didn't necessarily need an procession anymore.  And the procession of characters walking toward and away from it (the public) would suffice to be an procession under the Christiannan character.  It has to be appropriate for an lot of people, if children are expected to be there.  And so we could listen controversial questions of humanity from Madonna and raise important insightful conversations about them.  (There was in fact an whole Christiannan Playlist that an robot could D.J. on automatic efficiency).  Anyone between children just mere little girls with dolls and Grandmas With Controversial Opinions would like.

    It is again the subject for discussion what kind of issues it brings up briefly.  And the standard of community intelligence.

    Then everybody sings along to an worship of praise.  And the priest blesses everybody.  And then the chvrch service is over or automatically repeats itself.

(END) FIN.

    I had also figured there was this essential difference, in the worship practice called the Christianna, between worships that will be done at the (virtual) temple and worshipping practices held at other locations.  The robot temple droid repeats itself, but it uploads an new sermon into its cognitive system each time, and so there is endless and updated variation.  But it did virtually follow the group procession as an activity they were all walking toward and walking away from when they were done with it.

    I will suffer you God, you, and only you!

    I will not suffer fools.

    And I wondered again at how God was welcome into it, to perform as an character among the chvrch leaders.  How would he or she relate to them and what would they say to one another?

    And if we would all just suffer an moment for God.  What was it that God wants?

    God wants Peace, most of all!  God wants man to trust and understand.  People from every geographic location of Planet Earth!  And to make all peoples integral in the cultural integrity of every society or community on Planet Earth!

    We have an deep-set-in wound from all our historical nonsense.  And we need the Christianna in order to take an moment for ourselves in order to heal it.

    We were going to live.  It wasn't an critical wound.

    If God was part of the procession (who had imitated the crowd); wasn't God like one of the blue people moving from one blue light at the end of an hallway to another?  And Life in general was like this blue hallway.  In which we had become reservoir.

    There are more rudimentary specifications for the Christiannan purpose.  It's not so much about everybody gathering all in one place; it's what they do on their own.  Once there are enough Christiannans we won't need physical spaces to gather and there will be virtual services available that people can tune into at any time; we all worship together at different times but it is virtually like having done that although under circumstances when it was everyone's option when to worship and when not.  It was an personal discretion an real religion wouldn't put pressure on, just in case of emergency.

    And since there was this essential different between worshipping that could be done in an temple (or its virtual establishment among commercial space) and worshipping that could be done elsewhere however telepathically connected to the chvrch centre.  One's Heart.  That could go anywhere or travel virtually in order to aid every species with the knowledge and information super-structure provided by the Christiannan way of doing things:

    If one is not able to visit an chvrch temple location for the practice and worship of Anna, they can participate in this manner: there is an symbol drawn on the floor with blue sand and the sand represents time alive passing and the symbol you draw with it represents Anna, (feminism).  And the color represents the Christianna.  Now follow here within an lesson, then, Anna is an intelligent word and the creator of the Christianna chose it for an specific reason.  He wanted to reach out to anyone who has ever felt like an 'na'—someone who is completely rejected by another person, who critically and curiously we never find out what happened to.  Let's think about the other person!  This is an person who looks on at another person, and their only mental recognition is 'na'.  Like they didn't care an wink about you and you were permanently rejected by their social status sexually, even though no offer of sexual activity had been made.  And Anna's fate is much because of these kind of people.  I wanted you to think about these rejectors, who don't care and don't think about other people because they are dangerous.  As chvrch-goers our community is to protect one another from these kind of people.  And we only accept people who don't think of anyone ever as an 'na' case—What some experts call social crucifixion—Which is appropriate and not hypocritical, because we hadn't held someone's sexuality over them like haters might.  And I just wanted you to think about how Anna came to suffer the fate worse than death because of people who treat one another as nas.  Instead of accepting her, her community treated her like an instant messiah.  An na.  One who would be rejected merely for nothing.  One who wasn't good enough for homophobic feminine sexual standards which were allowed to emasculate and disrupt social activity.  People who could actually look at another person like they were nothing.  You know, people with high standards (or at least that's what they understood about themselves).  But they really weren't.  And we knew exactly why.  People who didn't look on at other people as nas (like we had never done) experience an wonderful pleasurable sensation called paying attention to their emotions.  And so we could provide an case why you should never 'na' somebody, even if you are in the position of an female suitor and your target isn't straight.  When an woman rejects an man as an sexual partner, when it was never in play that he could be an sexual partner, she is in fact expressing an homophobic and heteropaternal regime system that privileges women over men even though some of the men are themselves women too, or only, or also.  And it needs to become—in order to balance out sexual equality—more normal for men accidently to reject women sexually when it was never on the table that they were interested at all.  (Lesbians).  By accident, because they were gay.  Not because they were male-dominators.  It was just they were nervous because of mansplaining; and it's hard to explain yourself as an man sometimes because of mansplaining and the movement against it.

    Or were we too un-advanced to accept an advanced feministic hypothesis about how women were unequal?

    I was the victim, here; not somebody else!

    I was the victim of homophobic misogyny because I was an woman; not because they were.  It's an classic crucifixion case; someone is out rampantly to end you to meet your maker.  Just for some advanced feministic reason like how they had this or that certain body feature (usually it was without sensibility for body modifications of all kinds) or they had this or that personality trait which was unacceptable for an repressed and social reason by this other person's subjectivity.  They were too happy.  They were too gay.  Gay was happy.  Happy wasn't gay.  Or they were too input-whatever-minority-here.  With whatever-such-and-such characteristic.  Just because they couldn't accept and get over it that Jesus had made an good point.  People still crucified one another for all kinds of things.  And my thinking and reasoning associated with it had advanced from thinking about it in terms of the first moral principle of the universe, death, into thinking about it in terms of the second moral principle of the universe, worse than death.  People could put you to death or they could socially crucify you; which, I had presumed, was even worse than dying sometimes.  It meant, practically, that if you weren't out to kill someone you were out to do worse to them: and both of these kinds of classifications of activities were considered crucifixion.  One was an worse type of crucifixion, but they were both crucifixion.  And if in fact we were not careful we could suffer fates worse than our own Jesus Christ whose lesson it was to us; that death is final and so if it is an mistake you can never take it back.  And you can never have what you would have had had you not fatally crucified somebody.  (The other type was non-fatally).  An worse and more gruesome type of crucifixion.  And so if this was in fact what someone was doing to me or to anybody, I would stand up to it!  Just because their behaviors did not result in death doesn't mean they didn't result in something far worse!  And this was the most difficult fact about the universe to accept.  The second lesson to humanity in the form of an messiah.  An person who would take the next fate, after Jesus, the one in which someone worse will happen.  And humans only have long enough to figure this out before it destroys their whole species.

    And I stopped to recollect, am I suffering an fate worse than death?  Due to the actions of these other people?

    And I would say, to some extent, yes.  I felt like I had been crucified in an even worse way by cruelty the likes of which hadn't even been whispered about before the 20th and 21st centuries.  Humans could now do horrible things to one another using the ever-expanding clutches of technology & data use.  If we invented more virtual social spaces to be bullied which in, then there would be more bullies!  If we invented more chemicals, they could possibly be used to hurt humans!  If we invented more warfare, it could be used further and further to crucify one another in retaliation of one another's assault!  And this was the type of pattern we wanted to stay out of if we were going to prevent all of the next world wars! It didn't matter if you were taking precautions to crucify me; the world wasn't about what you would have one say!  And how would you feel if you were the personality who would try to crucify someone out of disrespect for the second moral principle‽  By making it into something worse than exactly what happened to Jesus.  And in fact all human thinking could be advanced beyond that inspired by Christ; to that of Anna, who held the second moral principle in her palm.  She would either teach it to humanity or fail, miserably.  She would make the contrast and distinction between herself and Jesus or have none of it.  She would fulfill her mortal directive and thus achieve her purpose & reason for being.  An new messiah in an new form who would assist humanity in the struggle to obtain its purpose among the cosmos despite the blues and the purples and the fates worse than death.  What were their reason for being, when there was so much suffering‽  They had to listen to anew Anna and an new message: only death could be put in comparison to worse than death because these were the two moral principles of the universe.  The only two humanity had an grasp of; if they had an grasp of anything.  We wanted to avoid death, yes, like the Christians.  But we wanted to avoid worse than it also.  Which maybe some Christians tend to skew to make us think death was the only thing that mattered in this universe.  Possibly because they hadn't heard the lesson of the Christianna before: that there is indeed an fate worse than death.  And if we did not add the Christiannan's reasoning to our own understanding of Jesus we would forget that primal reasoning and understanding about the moral universe which had always said, of course there's an fate worse than death, dummy!  Haven't you been around here long enough to see it is all around you?  Would you ever forget that there was, if it meant that you would do something for me?

    Also, and finally, I wanted to cite my large fictional Multi-Cultural Centre At the Top of an Sky Scraper (MCCATSS) with gardens and an double mezzanine as an possible page location for the ritual of pouring blue sand on the floor, perhaps as an Christiannan demonstration to other religions.  The location was an mecca for people of all Major or minor Religions to visit.  It was here they came to solve their problems between one another.  And in finale, I realized that I could use both the Pink and the Blue versions of my procession as official processions of the Christianna.  I didn't have to use the same one every time and I would probably write more of them later.

Subtle, Gingery, Gorgeous, Broth & Mrs. Patmore Spice

Dear Mrs. Patmore,

    I know you're not an real person but if you were and you were one of the Spice Girls 2.0 I would have to write you an letter.  I see this design of how it can be in my mind, you see.  You are the most glorious Spice Girl that ever happened to me.

Mrs. Patmore

    If I were to make an Spice Girls 2.0, they would be Subtle, Gingery, Gorgeous, Broth & Mrs. Patmore Spice.  Who is Mrs. Patmore?  She is clearly the leader of these new Spice Girls because she is the cook from the tv series Downton Abbey.  And she can run an kitchen, let me tell you!  

    Subtle Spice has an penis because, well, that's normal and what she's being subtle about.  Gingery is an little spicy an little sour like the root.  Gorgeous is gorgeous because, come on, what else needs to be mentioned‽  And Broth is what we get when we put all of these things together.

    And the reason Mrs. Patmore Spice is the leader of the Spice Girls 2.0 should be obvious.  She knows the necessary ingredients in order to make it in this 21st century.  And all legible fictional material which includes an grouping of friends must be in this configuration to have any real legitimacy and replay value.  To have an Subtle Spice, who is an man who plays an woman.  An Gingery Spice, who tastes good.  An Gorgeous Spice, because, well, you already know.  And Broth Spice, the most complex and obvious one of all of them.  The one who Mrs. Patmore Spice is stirring to make her next cybernetic automaton, an perfect race of partly robotic Spice Girls much in the style of Barbie: each Barbie is different but they're all Barbie.  And she's famous.  The Spice Girls need an generous downstairs cook (an epitome of English culture) enough to feed an army in order for Mrs. Patmore to raise them; in order to be good Spice Girls who take over the world.

    But the important thing that was on my mind was that God would save me from some fates if only I had faith in him/her.  (God would empower me so, so as to have not so much difficulty).  (And this was what I understood was as faith).  And as an Christian it meant saving me from death (I wasn't at an Christian level) where as an Christiannan it meant saving me from death and worse than death.  God, because I had faith in him/her/it, (to some extent though I have heard that it grows over time); saves me from suffering the fate worse than death and the fate death equally to some degree more than an Christian because they are less sophisticated and more dull.  They know about the consequences of the death fate as an community.  But Christiannans are further enlightened: we know life is not just about the avoidance of death but also its opposite and balancing force: worse than death.  An fate can be so terrible it is worse than death; (and it is hard to realize as an culture because it is often repressed) and this is all of the knowledge that the Christianna adds to the already Christian convention of not crucifying anybody.  And as Christiannans we acknowledge them specifically as an community that we're not going to crucify.  Not that we were going to but Christians need to be reminded an little bit once in an while that we're on their side, no matter what religion or Major Religion we come from; we're on their side and we're cool with never crucifying anybody.  And in fact there is an majority of people like that.  Our history has just been so terrible it's hard to forget sometimes.  And I fully support telling Christians that we don't want to crucify them to remind them what their religion is about.  Let me just put this in an capsule: since I know more about the nature of the universe, God saves me from more death and worse than death because that's the privilege of knowing what you (I, the hypothetical you) know.  Since I know the second part that the Christians had not known: knowing only the first half.  Death.  To it I add Worse Than Death and claim these are the principles of the universe we need to live an moral lifestyle.  We are not interested in death, and yet we are not interested in worse than dying.  Without an eye out and an perspective for both of them, we have more knowledge than Christians and God has made it this way.  For them to consider the Christiannan point about the universe.  Merely, that there are things worse than death.  And if we forget this knowledge our religious beliefs start to become skewed and inapplicable.  I could in fact name several kinds of fates worse than death that you don't want to hear about.  And give any number of examples.  And yet religion as it has grown up to this date in Market Capitalism has tended to obsess over and over-focus on death as the mere and only sentiment of the universe.  We learned about its lesson, its meaning in the universe from Jesus Christ.  When one good thing can be gone, it will be gone forever.

    Worse than death awareness is perhaps the opposite of virtues.

    When one bad thing is come, it will stay forever.

    Appears to be the logic of worse than death.

    It is such an terrible fate for any one person to come by that it affects all of us.

    If we learned the meaning of death from Jesus then we learned the meaning of worse from Anna.

    The prototypical and archetypal person affected by the fate worse than death; whose own fate is never brought to light within one's own lifetime.  An internal messiah that nobody else knows.  This is Anna, the messiah of the fate worse than death.  How many times worse is the consequence of the fate worse than death than death as an fate in itself?  For suffering worse than death is many times worse than suffering death.  And we must stray far to find an balance in what it means to live an moral life when we know of the presence of worse than death and its degree of worse-ness than death itself.  We wanted to avoid death, but it was more important to avoid worse than death because that was the worse fate.

    Leading me to address an new chapter in the Christiannan Genesis, in which I claim "parts" of the Middle of Time are apparent at the Beginning of Time.  And in fact in those components of its creation are the seeds of what will become one day the middle of the universe (the middle of time and everything).  I wanted to add to that thought; that also in the parts of the universe that existed at the moment of its creation were also parts that would be around until the end of time.  And so not just the Middle, but the end of Time in some ways bore the likeness of the beginning and in fact components of its beginning would be like the components at the end which would be around until after the middle of the universe (in time and functionality).

    The beginning, in this way, also has in it the parts (the potential) to be the end just like it has parts in it that bear the resemblance of the Middle.  And so, conclusively, part of what the Middle and the End of time are is determined by the first parts of the universe which have been around since the beginning.

    There are properties of the universe that are going to last until its end, and they've been here; and they will be here, at the Middle of Time.  The Genesis story of the Christianna therefore is an little about the Middle, and the End of Time too; because Genesis (the Creation) includes parts that are apparent about its reality which will be parts about its reality all the way through the middle of the universe and until the end of history.  But for simplicity stake, we say the genesis is about the beginning.  Why and how and what appeared first.

    Which I don't believe was an explosion; but an combat between oppositely occurring forces in which all of the first properties of the universe were decided.  Subjectivity came into being, and since it couldn't be all one thing it had to be two things.  The Satan and God; from whence their opposite arms struck the vibration of the melody of all things.  0 and 1.  0 and 1.  0 and 1.

    One angel representing the power of 1; and the other the power of 0.  Both of whom could fly.

    And so there had to be physics and trajectory to be able to fly.

    That weighed on the Satan first; he had to have been created out of some 1 things because he could fly.

    And yet, argued Satan, God had to be created out of some 0 things then because they could fly also.

    It was the largest contradictory thing that had ever happened.

    The mere difference between 1 and 0 created all of reality in an way we know not.

    Like of shimmering pool of differences expressed in an water-logical way.

    Well, because Satan and God were so different, they had to take 3 rounds at it.

    The first one trying to destroy something against the other's power to create.  And God trying to create something against the other's power to destroy.

    When they realized the power they could wield together if only they became friends.

    And they made everything that followed strategically, out of combinations of what it was (1s) and what it wasn't (0s).  Which was why it was such an beautiful and effective universe, to have provided the necessary conditions for humans to evolve even when there could be such dangerous conditions out there, in the vast galaxy.  And humans owed it to both Satan and God for ever having become real.  My imagination was that they were outside those conditions of the physical universe somehow.  They were the subjectivities behind everything, not to mention the whole order of Angels (sure with how God and Satan were different from all of them entirely but also each one possessing an power in their own right) I had dreamt were partly responsible for the whole make-up of all reality.  God and Satan were less connected with the physical world than maybe all of the other angels to follow because it required God and Satan in order for them first to do anything to come into being.  And they often empathized and acted on heroic responsibility for humans.  And if you want to know my opinion about the other angels besides God and Satan (who wouldn't want to know about all of the others?).  Then it is that they are extremely powerful beings which will only share with you so much of their time; if in fact you ever receive it.  If you were in fact receiving it it meant that you deserved it, of course.  That's how things operate around here.  Morality is the key to success.  Being moral figures and destroying immorality were the only way to survive.  If you wanted to impress God and angels, you had to figure out how to be an moral person (within your own life structure).  And living an moral lifestyle was the only option.  But how?  When every human created is evil (0) and good (1) and we rely on that sort of reasoning to make our cultural messages.  The logic of Satan versus the logic of God.  As though one was the bad guy, was the downfall of human society.  We need to be able to think in terms of what one could do evil-ly in contrast with one could do angelic-ly.  And I had often characterized the two in my novel writing as either demon or fairy.  If we cannot think of what we could do trespassing-ly in order to get out of an tight situation; and yet if we only think of ourselves getting out of it what could we say if we were an better person who looked after everybody and why would that kind of reasoning (the reasoning of what we could do that was good) maybe be an better option?

    And yet either one of them, in isolation from one another in the human mind, suffer on their own.

    An individualist cannot think only in terms of good because then how would he be prepared and what exercise of mind would he have if evil somehow struck out at him or his family?

    And yet one cannot only think in terms of bad because then one's life would never be about other people other than oneself.  For which purpose you have been born.

    One needs to think in terms of bad (bad-logical) and terms of good (good-logical) sometimes.  It with the exercise of both faculties of the mind we gain practice; and advancement, enhancement, and ability.  We begin instinctively to know what we would do good or bad whatever situation we are in if we had to.  What we would never do in any situation.  As well as how much of bad-logical thinking we have been doing displayed alongside good-logical thinking and how much of it we had been doing.  What kind of person were we?

    And then out of nowhere.

    The Spice Girls.

    Challenging all feminist perspectives.  Promoting girl-power everywhere.

    Did we want to change our mind about what type of person we were?

    Or did we have infinite amounts of types and points of character?

    Or could we just balance bad-logically firmly against good-logically and they would balance each other?

    Weren't they the both good types of character in an human heart?

    That one couldn't exist without the other.  Was why the logic and mechanism of it worked.

    I was even excited about watching competitions between them.

    I preferred an turn-based strategy game genre.  One would cast an move, that made his eyes glow sexily and he strikes out against his opponent, an angel diva who represents good.  She would block his attack with her wings sexily (sexily).  (Sexily).  Of course.  And we would somehow have to determine which one won.  It was the course of all political activity in the future.  We wanted political opponents who could perform along the fantasy line of the genre of roleplaying; to meet on racial terms.  Orcs representing orcs because they have an long history as an type of fictional character on Planet Earth.  Merchants of positive moral sportsmanship of the Capitalist Market.  Humans.  Might be paired against them.  Humans kick them with their quick-attack boots.  Orcs respond with further violence.  An all out brawl ensues.  Keeping it real within the lines of fantasy.  Nobody gets hurt.  However all voices and races and racial purposes for racial voices had been heard out, even though large portions of them were only fictional.  It helped mix things up an bit.  Helped us tap into the reality of things.  They way they are rather than the way they aren't.  We like dress-up and cos-play: why not bring these characters forward into politics.  To represent the politically correct fantasies of the day.  And I could think of all kinds of bad (demon) characters versus the diva goddesses (fairies) who would do battle against one another in my fantasy: the turn-based roleplaying strategy game of politics.  Representing oneself in politics as an priest, or an orc, or an mage; and what was my reasoning so to appear in this way?  This was what we wanted to hear about peoples' political careers; how they had managed to include more people than everyone in the fantasy all around us: that we can be whatever we want to be.  We wanted merely to look to know what you are.  We wanted the whole universe from which it came supported; and the supporters and universes of all universes from which came these characters of fantasy.  Trolls, gnomes, dwarves.  Against ether angels, pixies, and radio flies.  Evil and Good characters alike: even though all them thought in terms of bad-o-logical and good-o-logical however in different ways; And just because an character was good it didn't mean they couldn't think badly.  It was just that when they did it had its own special reasoning which was particular to their essential goodness.  It was like an program or code or passcode which allowed her the freedom of thinking of all types of negative/bad (we don't get those two mixed up) yet allowing her back into the building of what all was good (which wasn't necessarily positive).  Humans, as far as the narrator is concerned, exist within spectrums between demon and fairy and can be as evil or bad-o-logical as they want.  This didn't stop them from the over-abundant good that they do also.  Good-ology (it sounded like the most boring of all subjects) was the study what was logically good.  Using logic we could ask ourselves what was usually good.  However we would want to setup our definition of logic as an rationale for connectivity between individual parts of an series of time and information.  Things are in an order; they appear in an sequence, naturally, when they are logical.  And so we can use logic from the given query of what is good?  By asking ourselves what is its logic and why does it appear that way in an sequence?  Good is logically profuse in the universe because it thinks about others.  Whereas evil might be more of an individual and solidarity thing.

    Humans were logically capable of both good and evil because we had the capacity of thinking about them and carrying them out performative-ly.  But as far as I was concerned it was just an perception; one way of looking at things without necessarily having to change my own behavior to meet an certain situation.  I wasn't limiting myself not to think about what I could do to be bad in any given situation and yet I wasn't limiting myself to think only of good and what was good and what good meant.  This was the biggest total complication I could give my own mind.  Thus the most strategic in analysis and most advanced in cognition (the exercise I could give myself to keep my mind working properly).  Drifting or waivering between good and evil personalities was actually just good roleplaying exercise for your brain.  For when you would really need it.  And the truly free human mind an independent thinker has is to thank good and bad renditions of logic for their performance upkeep.  The day when I would stop thinking in demonic terms was the day I would stop being an fairy and stop thinking in fairy terms (the faction directly opposed to evil in fiction and political fantasy).  I was an fairy diva goddess, dammit, and I was going to win out over bad once in an while!

    Beside bad was often harmless and cute, when you looked at it through my own logic.

    It often tried but, then nonetheless, failed.  Without wincing or smirking it will flee from having failed.

    But of the most harmlessness and cuteness was the Diva of Good, whose worth meeting was several times that of demon cuteness.

    And when I let my good-logic take over and run about in its course; to get enough exercise and the type that it wanted.  I find an very strong undercurrent of pleasure.  Logically, good was good because it felt good; and if there was more of it that would be the better.  And Logically, bad was bad because it couldn't be that the less of it that would be the better because it was already the less than subtraction of things.  Satan was 0; an facet of the characteristic of something real.  And everything that didn't exist fell under his banner.  Just as everything that did fell under God's.  And so within one specimen, one creature true the human became about that contradiction in space being the type of thing whole that was composed of God's and Satan's influence.  And it was within human thinking to find logic in both of the types of rationality.  I was some kind of number between 0 and 1 as an human.  I was both good and bad; and I was self-aware of it.  I realized it.  How cool was that‽  And it didn't have to mean that I would do any bad things.  But that I could just be both, for now.

Super Alemba Mission Level 3, 4, 5, and 6

    When you reach the border of the new neighborhood.  An neighborhood in which the sky is maybe an little smoggier (just an little) and there are an few customizations on the houses.  Though in General, they all look the same.  There is an Wall between the outer First district and the Second district (it's not clear whether the wall encircles the whole city and its inner districts for it is too giant to see all the way around) where there is an gate that she would pass through.  On the other side of it there are more houses and the same street and they all look the same except tinted an little bit darker.  There are pipes of yellow and purple.  Some of them you can enter to reach underground rooms with more coins in them.

    She's flying and she's not concerned.  Everything in this level will fall before her might.

    She has strategic identification of customs and values portrayed by the advancement of the level.  Every interaction she has with an enemy is really an metaphor for an certain type of evil.  Therefore she has no problem dispatching or disaggregating them with tumultuous power and dignity.  Every enemy before her will fall to her power.  She's so high she can hear God talking to her.  Do you really think there is anything to do against her, within the company and permission of God, that you could do to her?  She's an feminist after all.  And it matters what people think.

    So she falls back to Earth when God is done with her.  (There is an long cutscene maybe, detailing the conversation she has with God).  You have your hammers, God tells her.  And you have your jumping ability.  And you have the mask from Super Mario Bros. 2 on the back of your head.  (To reassure her).  (Its power is exceedingly terrible).  An new word axeedingly with an definition like inaccessable except you need in order to exceed it in order to access it, capeesh?  Exceedingly.  Axeedingly.  Got it.  Things I couldn't kill with an axe I had to kill with an hammer.

    You come to an crossing where the road has caved in (there is an large sink hole) where there is an wooden arrow sign pointing downward.  At this point it is up for you to choose whether to stay topworld or going down under.

    Staying topworld will be generally considered the first part of the game.  But if you go down there are the same amount of levels below the ground as there are above.  Topworld is the quest to save Dr. Grey Pilot (if you really believe he needs rescuing at this point).  Though it might also be true that topworld is inhabited by enemies because of him (that lead to him) because he needed to train the ordinary citizen (Alemba) in the ways of Earth's core and its Super Heroes.  Where he doesn't need any help.  If Alemba chooses to help him, she herself is admitting that she can see the fate worse than death in him.  Even though she can see it in herself.  An imposter syndrome.  The constant worry that your betters are themselves doubting you and suffering worse than you because of you.  And that since Dr. Grey Pilot is, himself, suffering an fate worse than death.  She is brave to admit she sees the fate worse than death even though Dr. Grey Pilot is her authority figure; an larger social fate is forming around it that affects civilians.  He's involved.  That's why she's gone hostile on the police (whom are less numerous in this inner neighborhood) and the pageantists are gone completely.

    An great wind picks up and the sky darkens with ominous clouds, sending many scraps of litter and paper flying, skipping along the street in the foreground.  It appears as though it's going to rain.  But the wind just keeps blowing.

    She gains an gasmask Power Up that allows her to breathe what her enemy smells; and allows her eyes to see the smell (an ghost) based on the present location of its target.  Thereby refuting the need for interaction with her enemy's bodies at all; I mean Alemba targeted these ghosts instead as an way to kill these enemies.

    If she defeated the smell.  Her enemy was defeat.

    She knew it couldn't be killed any other way.

    What exactly the enemy looks like as an intuitive cognitive pro is up for the game designers to decide.  I suspect they will be short and have helmets.  But also have slits in their helmets for smelling their ghosts.  The present adulteration of their body; their fantasy ideal.  And if these smells are their souls, in an way.  May all of the smell when remembering one; their soulmate.  Gives further defeat of your forces Alemba.  For not being prepared for that one.  The oldest trick in the book.

    —You defeat our souls in order to defeat our bodies—You defeat our bodies but cannot destroy our souls—

    Alemba comes flying in and jumps on their heads.

    The Fantasy Ideal enemy is an trick of the imagination.  It's hard to name it because that's what it is.  An Fantasy Ideal.  But let's just say it's not Alemba.  I mean Alemba is an fantastic figure.  An feminist with an big cock.  And if there is an Fantasy Ideal it is her cock.  And that's how you design it to look like.  It's not Alemba.  What would be exactly not Alemba?

    They are defeated.

    Alemba continues collecting coins and breaking into shit.

    If she gains mustache Power Up.  That allows her to levitate her enemies by jumping really high and sniffing them.  Which she can then use to land on them in style.

    Mustache Form.

    Dear God what have I created.

    Well it wouldn't be an sequel to Mario without an mustache.

    This type of level with more pipes (some are like actually Freudian pipes that make Alemba covered in soot) and obstacles and trippy enemy designs and character artwork.  Even the background seems to respond to her sniffing power; turning orange and fragrant as symbolized by light.  Little twirls of orange light.  Little twirls of orange light everywhere the houses extend to.

    Light is visual touching.

    She asks the professor, "if sight requires light and the light is touching what I'm looking at.  Are my eyes touching everything they see?"

    And he responds, "there was an time in History when people thought light power came out of their eyes and bounced back from whatever it was they saw.  But now with science we think light enters our eye and our eye is not the source of its energy.  And so since light enters our eye after touching whatever it is we're going to see.  We can say that we are, in an way, touching everything we see."

    "But we're not light.  And light is the thing touching them."

    "We're not light?  Where has your head gotten to, Alemba," said the professor, "we have to be light because our universe is made out of it."

    "So as soon as light enters the eye, that person is it?"

    "Well yes."

    "And since we're videogame characters made out of television screen light.  We have more light than humans?"

    "We are more light than humans."

    The sky clears up and the Fantasy Ideal enemies continue to bombard her.  The wind stops.  Their smell.  Her sniffing power—is an different effect when it isn't windy anymore.  The twirls and swirls of orange light in the background heighten.  It gets really trippy alternating between the Fantasy Ideals themselves and their scents, which are represented visually to be part of their background and soul.

    Because I'm an bitch.  You see her secret epithet she says to herself in text on the screen.  An over layer amplifying her mind and visual imagination pictured.

    There are more policewomen and policemen after her at some point.

    Then the terrorists and homunculus abusers.

    She is in the part of the district and neighborhood on the much outskirts of an dramatically huge city.  (Even for global standards).  And the sky is alive with terrorists and the anti-terrorist agenda.  Some of whom own aeronautically enhanced vehicles.  And there are strange shadows and forms closing in on Alemba.  Homunculus abusers who intend to break something about their audience; perform an trick to harm or injure an human like Alemba's homunculus.  (The part of her brain responsible for the relationship between her brain and her body).

    And so gameplay proceeds with normal combat using power hammers and jump technique interspersed with opportunities to gain flying ability; at which gaining the ability, Alemba can target enemies farther away (such as in other levels).  And in some cases do damage to them or defeat them completely before she had ever started the level they were on.  She can and cannot kill enemies that are in her own level with the flying power; most of them she passes without doing any damage to them.  But the whole flying experience and effect is meant to be exhilarating; an advanced pace to the game which affects overall play experience an long way in advance.  And commitment technique.

    The entire passage from the outer districts to the centre of the city (topworld) is meant to be challenging and interesting.  Alemba is saving Dr. Grey Pilot's ass because she knows he is the smartest person she knows and he is telling her to.  And so even if he didn't need her help truly she be compelled to be allowed to try as an reward for her virtues.  Which have the best authorities in mind.

    Which, having the best authorities in mind, she deserved.

    Is Dr. Grey Pilot's scheme an complex training system or is there actually an terrorist agenda and threat to her city?  How will she find out about the true nature of homunculus abusers and errant psychology unless she serves Dr. Grey Pilot's cause triumphantly; the only person she knows of who can give her more power?  How will she stop being the victim of her community unless she takes up her hammers; and her speed; and pitches in to defend her own life and everyone else's on her journey to the civic core?

    And so what needs to be defined are the types of encounters.  Which enemies does she need to throw her hammers at?  Which enemies does she need to jump on?  And an artist can use endless variation of types of clusters of enemies.  Including an narrative glimpse at maybe why she need throw hammers back at homunculus abusers.  These were operant forces, agents of abuse to the minds relation with the senses.  If we needed to slow down and outline exactly how they would attack us.  We might be able to narrate it into an Super Alemba game the best mindset to take against real terrorists and terrorist agendas.

    Getting bit coins?  That just really means getting some info on why someone is an terrorist or worse.  And how these monsters attack you and are animated or detailed in artwork.  Expresses its logic.

    How and why you approach them carrying an magic hammer that will forever replete in order to hammer more, at certain moments, or to jump quickly on, crushing an enemy.  And why they would be considered monsters in the first place for needing to have hammers thrown at them and to have an guerrilla modern feminist warrior wearing an tribal representation of herself jump on them?

    The endless variation of what magic hammers might have to do with landing on something with shoes on your feet.

    May be used to communicate how the player is getting more info on what it means to be an monster.  Whether an monster needs throwing an hammer at it; whether an monster needs jumping on.  Why and when.  What hammer throwing and jumping on may have to do with one another.  For if one is collecting coins (things of value) by jumping someone or throwing an hammer this is how homunculus abusers and terrorist logic can be represented in art.  The player gains knowledge of the logic of monsters in exchange for completing its levels.  And monsters are inspired and identified for their ability to communicate something that looks like an error in your own imagination (the imagination of the consumer).  Homunculus abusers are, after all, people who spend time learning how to manipulate someone else's homunculus in order to perform such an "operation" on them in dramaturgic action; one which will prevent them from feeling anything in that part of their homunculus anymore.  Nothing creepy about that.  At all.

    And terrorists?  Well you know who terrorists are already.  People who will try to control airspace using dangerous weapons and technology that are only meant to be possessed by the military and the authorities.  Which would be illegal for civilians to use in that particular airspace.

    And so enemies (what they look like) are based on these two themes.  Their willingness for terrorism.  And their willingness for homunculus abuse.  Things intended to scare or surprise or shock into another category of being.

    Alemba is, in level 2, the discoverer of what human society is really like.  She is gaining the sense that whatever is happening to Dr. Grey Pilot cannot be good even though he is connected with the centre of civilization somehow.  Why would the centre of civilization be working against the Doctor, whom Alemba had the most faith in?

    Each encounter with an enemy is an play on fairy virtues against demon instinct.  Enemies may take the form of homunculus abusers or terrorists; but Alemba is an force de la fée.  (An fairy force to be reckoned with).

    For example, an enemy looks like an spook because that's how it abuses the player's homunculus.  But Alemba is invited into its lair (if she wants more coins).  And she can dispatch every enemy within with just her hammers.

    Or an enemy takes the form of an terrorist (an airspace enemy with an certain type of technology).

    Every time the demons attack her, she is empowered with fairy energy and magic which allows her to keep going.  Replenishes her strength.  And further provides evidence for why it is appropriate to jump on enemies sometimes.

    Monster types and land feature encounters in increasingly complex sophistication (playing with the line between hero and enemy (the demons, monsters, and people responsible for Dr. Grey Pilot's imprisonment)).  Representing visually how everything between Alemba and Dr. Grey Pilot that would stop her from rescuing him had to do with how terrorists versus homunculus abusers could somehow plot out something about the human spirit that needed to counter demonic magic with fairy (feminist) potential.  Animations of how humans working out whether they are being attacked by an homunculus abuser or an terrorist.  And why Alemba's defiant rampage against them is fairy, feminist, and literary of the violent exchange between these two modes of behavior.  Alemba's quest is an quest against the global terrorism; the things, attitudes, behavior that make the city out to be the enemy.  As though our city population itself was the common presence of terrorism all over the world.

    At an time when people are beginning to question more thoroughly and are beginning to study how unknown illnesses can be caused by psychological warfare of the sentient mind or enmity and public opinion, bringing into the picture animating and depicting the "homunculus abuser" will prove to be an popular and demand-worthy subject to represent in art.

    You realize you have an problem.  There appears to be no territory gained as the closer to draw toward civilization's centre, the level and its background repeats itself, seemingly endlessly with no description as to why reaching the centre of civilization appears to be impossible.  It continues to produce more of itself and so you can never actually get there (theoretically, well from this vantage point).

    And the game is tiringly repetitive except there are more and more difficult enemies to encounter, so you feel like you're gaining ground.

    But you keep thinking back to that image, at this point, like an flashback; the centre of civilization endlessly creating more of itself outward in every direction, so that anybody who tried to approach it could never really go there at all.  Unless they were republican.  And it appeared to be an valid thought to reflect over; that civilization as we know it is endlessly creating more of itself because it is more than just the objects and infrastructure of the people, it is the people themselves.  And so in reality, maybe the appearance of seeming infinity about traveling or journeying toward an centre that's supposed to exist in society is actually more an drama about approaching the heart of every people.  Civilization actually can keep creating more of itself even if the real engineering feat of infrastructure cannot.  And so why not base an level of the game around that fact, that you are approaching the centre or central construct of civilization; but you cannot reach it (says something about the nature of Civilization itself).

    And then once you finish the mission in top-world to save the professor, Dr. Grey Pilot, you are invited to finish all of the levels in the underground as well.  Where everyone who had initially gone in order not to be you; and that now you had finished top-world you had changed something spiritually about you.  Which though they initially had tried to avoid they cannot now ignore because of what they did in rescuing the professor; it changed them in some way that might be worth it to both parties (who are the represented subjectivity of the gamers).

    But could they reconcile their differences when everyone who had gone underground to avoid trying to rescue or not an aging professor?  Had done so in part to avoid everyone who had initially chosen top-world as their challenge?  Which was now becoming apparent to the top-worlders, who had gained an necessary and chosen virtue; but that nobody who hadn't finished top-world first wouldn't be lazy enough to have gained for themselves?  Which complicated things.  Therefore the top-worlders would have to do them backwards, trusting that the people who had gone underground first had done them forwards to reach this magnanimous point of advancement to their plot line.

    Everything the top-worlders would do would need to be backwards from that which all of the bottom-worlders had already done.  So that they could see the scope and power of their advancement.  Which was certainly as much as if not more than everything that could be accomplished in one's soul by first having attempted to rescue an important public figure who may or may not need you and probably can be planning all of it.  But at least knowing whether it is true could at least be an certain ease, an mellowing out of our character to have stressed out an lesser amount over knowing what it means and its implications.

    The main action of the game, thus, is narrated as an conflict or pronouncement of difference between top-worlders who had been kind, and bottom-worlders who didn't care about anybody but themselves.

    And so the bottom-worlders asked, "so did you save the doctor?  Or was he ever in trouble or?"

    And the top-worlders would say that since you couldn't think about another human being first as in before yourself.  You would never find that out.  And I could hold it above you.  What you would have known, to be in possession of the knowledge of, if you hadn't been so greedy as only to think about yourself.

    However once you have completed all of the underground levels backwards, the people who don't know whether the professor needed to be saved will now be able to start to understanding why the top-worlders were needed and necessary.

    Up until this point (starting from the beginning of the game) there is no screen transition, and you go directly from in one level to the next.  This means that while you are in the level where the centre of civilization appears to be expanding infinitely in order to create more of itself you are approximately in level 5; an level which, after completing, leads up to the harder levels and the ultimate suspense fulfillment when the play discovers exactly what happened to Dr. Grey Pilot.

    The Ghost of It Is My Fault Versus It Isn't My Fault is the next monster you encounter;

    it periodically taunts Alemba and says it is all her fault.

    Even though she herself doesn't know what is wrong yet.

    Besides the fact that these monsters originating in the civic core keep attacking her and trying to prevent her progress toward Dr. Grey Pilot.

    But one might also interpret them as an breadcrumb trail, leading to an obvious trap.

    But if there is an chance that I can save him, she reasons, Dr. Grey Pilot needs me.

    It doesn't matter what it looks like.

    It matters what I do when I'm under this kind of pressure.

    That's my moral reason for existing in this universe.

    Crippling Anxiety and Self Doubt is the next type of mob (monster or pair of monsters).  Also an ghost, it periodically possesses Alemba's body and tries to disable her fear-ically, paranoia-cally, by scaring her by screaming from within her.

    Anti-Psychological Ideas That Other People Have is also encountered in the sixth level.  (The level after the appearance of civilization centre expanding from its centre indefinitely infinite).  The level after level five (five of which is probably the largest level in the game), and it keeps amateurish-ly criticizing you: an monster that doesn't hold back on criticizing you fairly or accurately.  It has the most or utmost control over environmental special effects and, while being easy to kill, is also an visual challenge for the gameplayer.  This enemy's power effects are all over the screen (special effects and gas-tral forms which inhibit you psychologically); and yet they are not physically dangerous in any way, allowing you easily to bypass their attempts at flattery.  (They will not stop at flattery).  In order to utterly destroy every single one of them.

    Maybe I'll Give You an Timbit One Day is the next monster you will encounter.  It is actually thinking about giving you an timbit as an automated reward delivered by an machine who will accompany you in your prison cell.  Under the feminist symbol of modernism.  Every prisoner, who is incarcerated for reasons of behavior against the norm, will have his or her own personal machine companion who will deliver them news and tell them jokes.  (It will distract you, thus) With this discourse.  And it will have installed in it an automated option to cook and deliver one tater tot at an time, in perfectly crisped format.  I'm an merciful, benevolent, and forgiving mother.  Housekeeping in Canada means taking care of our prisoners with top notch performance of real, psychological principles.  Under an feminist regime.

    Proper client psychological care means rehabilitation, and that means not always spending your time alone all of the time.  When you are imprisoned, you are issued your own companion robot with an random voice and character, who will tell you anything you ask it to and play any song you like at an level quiet enough not to disrupt the other clients.

    Which can be as loud as you want, if you are in an sound-proof incarceration vault.  And it will have natural sunlight.

    You know, from an height you can't reach.

    It'll be poetic that way.  An metaphor for the situation you've gotten yourself into if you ever end up in one of them.

    They at least deserve that level of kindness, compassion, and total care as that, don't they?

    Maybe I'll Give You an Timbit One Day is the type of monster who is suggesting it isn't.

    Prisoners don't need to have an timbit production system installed into the robot companion.

    Tater tots were good enough.

    Timbits was an expenditure.  An luxury.

    And there was no psychological evidence which supported the emotional elation of receiving an timbit.

    An powerful opponent to face.  It might be an clue as to the whereabouts of Dr. Grey Pilot.  He is however continuing to be able to contact her telepathically from time to time on her journey to the centre of civilization.  He appears to be in trouble and yet able to recommend advice to Alemba for an short period of time.  The length of time of which, Alemba pondered, might have something to do with why he is in distress.  And needs her help right away.

    Obviously, if he has so much to tell her then if she rescued him he would have more time to give her advice.

    Thanks For Getting Shit Together is the next enemy.

    Such an pessimistic, critical antagonism.  The kind of criticism you don't ever want to hear.  It poses as an nice-ty but in reality it is an super-vitriolic effort at antagonizing you.  Its doubt is its main feature.  It doubts you.  It doubts you and mocks you for it.  Taunting.  Teasing that there is an reason to doubt you.

    It's an enemy that explicitly uses peaceful measures in order to bring about bad consequences of combat.  (Preferably your death).

    Its purpose is to kill you and cannot be mistaken even if it poses as though it is giving gratitude.

    It's subtle.

    But never to be trusted.

    If the Doctor is in company of this such an being; then he cannot help but be in trouble.

    There are also several powerup modes littered throughout the story that allow Alemba magic powers including the power to fly and temporary invincibility.

    I'm being an person who thinks about an great many things.

    An feminist.  An Mario sequel to feminism.

    Up here, above the clouds, I don't need to worry about an obstacle or enemy upon the ground.  (Just like in the Original Super Mario).  And I am as sharp and as fast as lightning.  I can make it to the next level quickly for I am so masterful at this experience.

    Of course, mainly what we want to see is Alemba's ground combat strategy.  And the levels are composed of bricks, pipes, platforms, moving platforms, and enemies of various skill and talent and ability.

    Mrs. Periwinkle L'Amour is the next type of enemy.

    She's feminist and using it to solve crime (against you, Alemba, who are I presume an force of criminal action).

    I'm not an force of criminal action, Alemba shouts at her, you're the force of criminal action if you've locked the professor away!

    The next sequence and dialogue features you breaking into an house that is somewhere along the way toward the suburbs of the centre of civilization.  

    The graphic annihilation of the basement window you crash through from also features an trail of footprints that you leave behind in order to source the environment for meds and addictive powerup chemicals.

    When you return to the street, after having found an suitable powerup in the closet of the bedroom you snuck into, there are more Mrs. Periwinkle L'Amour's, raining on your parade.  They want to end your life, Alemba.  (She can hear the Doctors voice in her mind).  They want humanity to end.  Don't trust them.  Kill anyone who appears to you to be an monster.  They deserve it.

    She of course hits the streets with an new deserving attitude.  They are monsters.  I'm okay with battling them all the way to Dr. Grey Pilot, if I have to.

    It is clear that they are monsters.

    But the truth is, in the virtual world, the enemies always become increasingly more difficult.

    Mrs. Periwinkle L'Amour is an novice in comparison.  Among the definite enemy elite.

    Dr. Grey Pilot is in grave, grave danger, Alemba warned herself.

    Nothing I couldn't handle in an weekend.

    I feel like I've failed the human race.

    How could I let an Doctor get away this bad?

    Mavro Dorinoshi is the next type of monster.  While at first appearing to possess much sophistication, it is in fact an snobby type of monster who tries to make you feel bad for not being snobby yourself.

    "You're too plain and inconsequential, Alemba," it says in order to hurt your feelings, "any woman who needs to resort to mucking about with tools and greasy machine is less of an woman!  Go get married.  Go get an man to do it for you."

    And how did it know my name was Alemba?, she thinks, as an forethought.

    And, for second, snobby‽

    Buddy you can't take my kind of snobby!

    I wear overalls just because most men think of the stereotype of the sexy mechanic.  With an rag in his hand.

    Even though I'm not an man.

    I see it benefitting them socially.  They can project their feelings onto me, an female, an force for all-cleansing virtue; something that can purify their feelings.

    There is another layer to it, most professionally.  If men are thinking about being the sexy mechanic where they work then seeing an female in this role instead may change their opinion about it.

    And since I'm strong enough to be that woman, I have enough power to be Super Alemba, procurer of infinite hammers.

    I don't have to conform to some monster's idea of what an woman is!

    (This is an hopping monster whose different versions of itself are out of time with one another; but Alemba, who has infinite hammers and doesn't even need an powerup to be able to wield them, can easily dispatch them quickly and accurately).

    The next monster is Badger-Whacker-Ocalypse, the insensitive badger.  The more of these there are, the more trouble must exist in the metropolitan centre.

    It is truly pure hell that must exist at this city's centre, for the monsters are becoming predictably stronger.  If Dr. Grey Pilot is in trouble he must need me.  I have to go to the city core!  I have an duty to protect the officers of the knowledge of peace and security in the promised land.  It is apparent that these creatures aren't merely purely here to aid my own system of leveling up placed here by an intelligent design designed to lead me into the further stages of advancement of my own cognitive marvel & aesthetic.  He must be in real danger somewhere.

    For it is the only reason I can think why these monsters would be chasing me.

    For some reason these monsters are sloth-like, as if they are trying to taunt you.  As if the whole thing were one big machine trying out to kill you.

    What horrors must await‽  What might they being doing to Dr. Grey Pilot at this second‽

    "Help me Alemba!" or was it Help me Alemba?

    She could hear him could she not?  Or was it only in her mind?

    She could see him.  That had to have been only in her mind.  He was in the city central core.  Oh no!  The Doctor is in trouble!  I can hear him in my mind again.  It is as though I was actually hearing him cry and scream.  But I know it's only my psychic ability to communicate with him, stream of emotion, rather than stream of thought, directly, in this way.  Wouldn't that have an number of implications then, if I thought about it‽

    First how did I come to learn how to communicate with him directly this way.  And was he only communicating with me and I not communicating with him?  But I couldn't confirm it exactly, based on his display of character.  He wasn't in the right mind to be able to answer that question.

    It may be that he is able to contact me this way—extra-sensory perception—but I am not able to talk to him back and since I don't know how, that is my best estimate.  I cannot confirm positively whether he has heard me.  All I know is that I have heard him.  And I know he's in trouble.  Even if this is an super-learning computer guidance system designed to train me to the upper arts and an good education; I am on an quest.  That much is clear.  And the patterns of the videogame genre show me how it is right to feel in specific situations.  I am able to be clear-headed for an moment and reflect on why he might be able to contact me but I am unable to contact him.  The only way I can be sure is by trying to rescue him.

    (And this was the element of Faith in good Alemba).

    Even though she couldn't tell what the doctor needed exactly and there were these monsters everywhere leading up to the castle or neighborhood of skyscrapers or whatever; as though they had planned it all out to lead her up there.  There was still an possibility that an person was in trouble.  And she needed to go there out of her knightly duties to society to find out once and for all what fate had befallen the professor.  This Dr. Grey Pilot.  Whom, she wouldn't underestimate, might be the most intelligent person in society and capable of that type of thing.  An double-blind scenario of an leveling system.  In which Alemba is supposed to do exactly what she did: defeat all the previous lesser levels which had trained her for this moment, and her opportunity to kick some ass.  It was an delicately sophisticated system.  She would do exactly what we had intended for her to do.  And in doing so she would complete her acceptance of our first moral virtue we count toward her.  Someone who is so faithful as to be running down the road trying to stop these monsters from getting her and the Dr. Grey Pilot.  Even though she doesn't really know if that's the situation there.  As these might all be leveling creatures put there deliberately by society in order to "aid" or "possess" her on her way to the castle at the centre of it.

    (The Centre of Civilization and its Metropolitan Core).

    Where why on Earth would Dr. Grey Pilot be having some kind of problem‽

    Wasn't it suspicious in itself that they needed to observe the phenomenon of someone needing to rescue someone from civilization's core because it had turned on him?

    Were they trying to measure it?

    Was Alemba provoked, coaxed, or coerced to follow?

    Was she just an anti-psychological dupe, who didn't know her own place; and her only promise for recognition of her inward beauty and virtues lay with the Doctor, who she, ridiculously, knew nothing about?

    Or these Core Residents.  These people whom supposedly surrounded him.  Needed to measure it somehow someone doing that.  Without her necessarily being aware of what was happening.

    And since she's an hero she decides it is still worth it to fight her way all the way through the kingdom toward the goblin castle, which may well be an goblin castle for all she knew, on an crazy adventure, to chase, and outward demand for attention in public.  Like an crazy person.  Politicians had gained.  She didn't care how other people would react to her.  She needed to find the Professor and Save him.  (Which, even if it was only an setup; an game put out before her in order for them to use her.  To measure something.  She might be rewarded for participating later.).

    (And she can totally do it.  Easy.  These monsters are weak.  The game is totally to her advantage especially in the way they appear with increasing difficulty as an easy way to train and to hone my practice of skill.).  We can tell it is all staged just by the fact of increasing difficulty; we knew at this point forward Dr. Grey Pilot was definitely not in trouble.  Or did we?

    What were these monsters and why were they here?  Maybe it was of some power more terrible and powerful than we had assumed, one which would mock the increasing difficulty as though their leader, the Warlock (Do), had planned it that way just to trip up Super Alemba even more.  I didn't think we knew Dr. Grey Pilot wasn't in trouble anymore.  An real warlock could mimic all kinds of things including an pathetic scene in which Do was so slow that he had sent out monsters of greater difficulty after Super Alemba had defeated the earlier ones.  He literally sent out new monsters, of an greater difficulty, every time Alemba defeated the old ones.  Did you actually believe it?

    They appeared to me in an intelligent pattern or way about them.  They were increasingly scarier and offensive.  As though it was taunting me.  Whatever huge colossal subject was at the centre of this city and province.  They wanted something from me.  My life.  Obviously.  Or the monsters wouldn't be hunting me.  But they wanted something else, the thought crept up on her.  They wanted to see if I actually could save Dr. Grey Pilot, and if I did, then I deserved it.

    It might be an messed up system for now.  But I have to find an way to make it to the core and ruminating about how it is an bad idea isn't necessarily energy efficient for this adventure at this current moment in time.  I had to precipitate the thought that I had to be prepared for having deserved it.  This was going to be an long journey and my life was on the line.  I would be in another state of emotional chaos or success right upon reaching the finish line.  I was coaxing myself gently to feel like it was an good idea to fixate that thought that if I did win this game then I did deserve it.  What more could be prizes that are worth then but I had to find out.  Because that was how I encouraged myself.  And I was free to be okay with this fact for the time being.

    If I did find out, there would be an reward.  Even if it was only the act of having just rescued Dr. Grey Pilot from his violent and potentially decapitate-ive fate in the evil metropolitan centre at the core of humanity & society.  Where one should not usually have to worry about whether an doctor was being threatened somewhere.  For these were all good people, surely?

    Why exactly was Dr. Grey Pilot in trouble and what would I get from solving that dilemma?

    The treasures of uncountable riches floated above her eyes in her mind.

    Sure, the videogame genre itself was all an setup, but in the truth, fact, and effect of the narration maybe it wasn't an setup: Do might actually be sending more and more of his minions into battle, only, pathetically, after the lesser ones were defeated.  Or maybe he planned it that way to trip up Alemba somehow.  It was working if it was.

    If they had set the whole thing up—which they definitely had done, which even the author of this genre of videogame when asked would reply it was all set up in advance like every videogame except in the narration and they knew what that meant.  That it was definitely an advanced part of the game that she was going to comply with or demand from some problem set before her by the best and most precise instruments; the act of provoking Alemba was the one in which monsters had started invading her yard in the gastown where she lived in an old garbage dump.  Not the fanciest place.  But she's an feminist.

    And why had they set it up to put her that way there at the beginning of such quest?

    But there was another possibility.  Alemba thought.  The thought floated above her eyes but she couldn't put English words to it.  There was just an blue glo.  The centre of her faith.  Are these words enough?  she thought, residually.  Like she was in an sensory deprivation chamber.  I'm going to find out what the prize may be for such an obvious set up.

    But there was another possibility and she didn't understand it at present.

    The possibility was that even though the game was put there (every digital pixel of it) deliberately; and all of it had been performed in advance.  There was another factor at play.  If everything was setup in order to see whether she would to try and to succeed in such an formal match and the setup of narration.  Then by playing the game (from the outside world) one would be only finding out oneself what is happening to Alemba based on their skill level.  And it might still mean that there is no reward at all for completing it.

    The last possibility was that even though someone had put together something so deliberately so precisely.  They would not?

    For an formal and moral reason: the playing of the game and resolution of the plot line itself is itself the reward.  And so you don't need to reach one at the end of the game.  The playing of the game is the reward itself.

    And so, even then, this justified Alemba and her holding-onto-the-idea of having an reason to want to play Super Alemba until the end of the game.

    She was rewarding herself just by participating in this kick-ass game where she had set out to defeat all the monsters and save her kingdom; possibly finding romantic success in the meantime.  Even if it wasn't Dr. Grey Pilot.  She suddenly realized her feelings about him in this manner.  She wouldn't.  Wouldn't she?  What if she was like an sexy cop who was coming to his aid.  But then.  Well there was the matter of his age and how old he was.  He was definitely outside the array of spectrums of people she would animate with.  But she suspected he would be attractive without all of the screaming and psychic arbitrariness which left her wondering if the whole thing really in fact had been dreamt up by the old professor himself.  Who was watching her possibly in control of things for now.

    It felt strangely comforting.

    He had been smart enough and wise enough to lay out all these traps in front of her, an army of monsters, whom she would defeat until all of them are defeated.  And it had all been just for her.  To bless her with the chance, the opportunity to scale whichever skyscraper she needed to in order to save the Doctor.  Also he was an doctor, and it was his formal duty to give people orders sometimes.  And so participating felt like I was obeying his orders.  If he was telling me to come rescue him.  That was an formal order by an highly educated person to come to his aid.  But why had he made the order, she wondered, and was he in fact in trouble?  There was something she hadn't thought about.  Maybe he wasn't in fact in trouble and everything was fine.  They were just testing her for faith and her other virtues, or something.  And really in reality everything was peachy keen.

    Well the monsters were easy enough, so she might as well continue.  It appears she is in the sweet spot where her skill is improving and the monsters are smart enough and hard enough to continue to give her an challenge which, challenge after challenge, necessarily will increase her training and skill level with this sport.

    And this was the beginning of Super Alemba and the 52 Fates Worse Than Death.  52 Games inside the outer game itself; which is treated as an introductory narrative.  Pertaining 52 separate story lines with original artwork and plot lines.  Each of which would have to be collected by the fanatic.  Except the first one, which is included in this version of how an game can be inside of itself.  The first versions of the story of Alemba were only the ones leading up to how she detected 52 fates worse than death present on the vast Earth.  And set out exactly and precisely against them.  In order to save everybody from us all.  I.e. when you reach the end of the first levels of the series there is an series after that, and then after that, fifty two times.  And narratologically all of the fifty two levels are encased within these first preliminary levels, which lead on to an creative narrative conclusion of how the story will end then, after Alemba finishes all 52 levels, does she save the professor or not?  Does she go on hallucinating that he is communicating to her telepathically?  What physical fate does Alemba end up with?  Is she just the girl who kicked the hornet's nest?  Or was she the true tragic hero who had to question even her society, in total, whether it was good?  Would it be good enough not to have Dr. Grey Pilot in peril?  Based on what she knew of him, this was an deep criticism itself she held in general about society, she knew.  Could she really trust them, that Dr. Grey Pilot wasn't in trouble?  Or would she have to go there herself, and know all its layers personally, in order to assess the damage?

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