oseaflower

[oseaflower]

[oseaflower]

This is me Aya.. ‏🇵🇸

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[oseaflower]

Hello 👋,

I hope this message finds you well. My name is Aziz, and I’m reaching out with a heartfelt plea to help my family find safety and reunite with our mother. 😞

The ongoing war in Gaza has torn my family apart. My mother and newborn sister are stranded in Egypt, while I, along with the rest of my sex family members, am trapped in the midst of the genocide in Gaza. We have not only been separated but have also lost our home and are enduring unimaginable hardships. 💔

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[oseaflower]

now that the event is over, the signatures are at the forefront and you can see them better:

there's a lot in the babel event UI that's greatly interesting, but just a little follow up on this post about how the stage descriptions in normal stages corresponded to theresa and the ones in ex stages corresponded to theresis

[oseaflower]

Babel spoilers ahead

Man I really love all the chess theming of this event, especially in the back half. The alternating black and white screens of the Doctor’s internal monologue framing their mental turmoil as a chess match against who they were and who they’ve become, the regular mentions of Theresa’s white dress and the Doctor’s black coat etc etc

But the moment that really drove it home was when I saw the Blackveil assassins

These Sarkaz who cut off their horns and destroyed their identities, donning featureless black masks to do their grim work and be tossed aside

The cut off their horns to become pawns

Useful, disposable tools

To Theresa all these men and women are friends and heroes, names she is unwilling to forget no matter what

But to the Doctor, to this version of the Doctor, everyone is a pawn

[oseaflower]

sorry to butt in but I wanted to say I agree with the simulation interpretation and it being doctor that is the constant!! doctor and kal are the only two possible constants, kal with her... constant presence and relationship with the land of terra, and doctor can be seen as a sort of constant — not solely because of their race but through having been present (though asleep) throughout the entire history of terra, originium they made influencing the course of its people all the while, and even doctor the individual playing a part well into the present. they are kind of a 'constant' presence

I made a post on the s-stages here as well, and it may explain my reasoning better with a full breakdown of the map than this reblog on mobile lol ^^

So the S-stages for Babel don't share the same convention as the normal and EX stages. They're not a call and response between Theresa and Theresis. Instead, they're "Simulated Assassinations" and their description is about the construction of a simulation.

>Simulation building complete. We will stop the assassins in the city this time.

The description for BB-S-4, "Simulated Assassination 4". Given the name of the stages, this is seemingly involving some kind of simulation regarding Theresa's assassination. Someone is running a simulation to see if they could have stopped the assassins from leaving Kazdel.

This is further supported by the number of Assassins on this stage.

There are 13 Deathveil Assassins on S-4, and boy do you feel it. Never want to deal with this many of these bastards again. But this isn't the only stage with 13 Assassins.

BB-9 also has 13 Assassins on it, so the connection at least to me is pretty clear. Your goal, on this map, is to stop the assassination of Theresa by stopping the assassins in the city.

It is worth at the moment to discuss the diegetics of the battle screen for a moment. When you're in a map, that is a simulation of a battlefield that is present in the Doctor's mind, the source of his ability to be precise and calculating in a tactical role. But there are moments where this diegesis is broken. BB-10, for instance, is a reversal of this outcome, where Theresa is in the Doctor's mind and the simulation is a battle in the Doctor's head. In addition, there is the matter of PRTS's involvement, and this means that it's potentially likely that these simulations can be done on PRTS's side as well.

Which means that the narrative of this stage, is that someone is running a simulation to prevent Theresa's assassination. Given the epithet of these stages "You the Constant, You are Me" this points to the only two "constants" on Terra: the Doctor, and Kal'tsit, and I can think of someone who wracked with guilt would do simulations to prove that it should have been possible to stop her death.

[oseaflower]

following up on this with the release of the s-stages and also keeping this post in mind, I was right about the s-stages relating to doctor. starting with the map UI:

the s-stages map is set in the place where theresa died. the 'triangles' relate to the broken glass shards like in the main event menu, and through the glass you can see the blood from the day of theresa's assassination; the glass is metaphor for viewing the records.

the map is this place (included a story ss if the background isn't enough):

pretty sure it's not like an exclusive background but it is what it is.. landship place of death map..

Now for the stage descriptions!

the event stage names + descriptions are quite clearly related to a prts simulation of the time of theresa's assassination. the description in bb-s-4 makes it apparent this is the present doctor simulating that day (why else would they want to stop the assassins?)

this is lent weight to by these medal descriptions.

the s stages are more directly related to 'salvation and destruction' as the prts simulation map design implies doctor was reconstructing what happened, possibly to make sense of it, likely out of a sort of struggle: through the review of these records, through the reconstruction of what happened that day, the doctor may finally understand that their 'salvation,' the 'freedom' they have now without the same connection to their past, was rooted in Theresa and Babel's destruction

only the stage logo corresponding to doctor has a sword, and there's a sword dripping with blood in the middle of the stage reminding doctor "you the constant, you are me" (excuse the quality im being lazy with my own screenshots)

the angled triangle in the bb-mo-1 button can be taken as the babel logo falling ie the fall of babel, as well as the inverted triangle in the s-stage logo. i believe the bb-mo-1 stage button design is a reminder for present doctor seeing past doctor, recognising they are the same, and recognising the blood from the sword (which is a doctor motif) as blood they spilled. they're responsible for theresa's death and seeing it as such.

neither theresa nor theresis's motifs have something as recognisable as a Whole Sword so this is interesting. also interesting for being unusual are the warning signs in the main event menu, which I believe are from PRTS — warning indication before the access of records related to babel

with the 'broken glass being pieced together through records to see the full picture of the day of theresa's death' interpretation of the map design, you can also look at this logo of babel:

and then see it as an attempt to "put babel back together" over rhodes through the logos... instead of interpreting this as babel turning into rhodes, as i think most of us did at the beginning, one can see it as a reconstruction attempt to piece the past together with the info you, the doctor, have.

on the topic of stage designs the normal stages are set against a map of kazdel, showing theresa's heartbeat (consult this post for more) and its end beyond the borders of kazdel. the ex-stages map is set against the background of what i surmise to be the soul furnace, with the end stage bb-ex-8 ending within the soul furnace. with the ex-stage titles we can guess it relates to theresa's death by way of the assassins sent by theresis to kill her; the ones betraying her would know that she would never be brought back to the soul furnace (which is considered an honour for the sarkaz)

so, at least here in the map, she is lead to the furnace. additionally, the stages form an inverted triangle as well, which we can possibly take as the fall of babel similarly to the doctor logo and bb-mo-1 button design; babel has been represented with a triangular motif so far and babel and rhodes are the only ones to use triangles!

to me it's also interesting how the s-stages are set in babel (from the load screen when you play the s-stages) despite the map location of One Specific Rhodes Room unlike the previous kazdel maps; the prts record is showing the room as it was during the time of 'babel.' the blood in the glass, everything you see through the records, paints a picture of babel once more.

mini analysis on babel stage maps

title: stage description

my thoughts

This goes through the normal and ex stages with the view that the stage descriptions of the normal map correspond to Theresa's journey, the stage descriptions of the ex map correspond to Theresis's divergence and subsequent journey (including the determination to kill Theresa, which is what the ex stage title show by taking the perspective of the assassins sent by Theresis). Someone on twitter made the connection that these were a conversation between the twins. For ease I include the English compilation:

BB-1 Great Aspirations:

I knew this day would come.

The Sarkaz’s ‘great aspirations’ but more specifically Theresa’s, because of the fact that none except her and those who believed in her could even imagine them ever coming true.

BB-2 Where Fate Guides:

Sarkaz [have] never been destroyed by war. We are strong.

INSANE title because neither of the twins believe in fate! Corresponds to the attack on Kazdel and also taking in Ascalon despite the prophecy. While they do not believe in fate they are still somehow GUIDED BY IT. Also can be interpreted as while fate guides the Sarkaz to war, they have never been destroyed and stand strong.

BB-3 Silent Crack:

Today, though, we face the tragic reality of disunity and betrayal.

Crack in the aftermath of rising sentiment against outsiders and non-Sarkaz in Kazdel bc of Babel. This ‘crack’ is not silent at all within Kazdel and the reality of disunity is clear for all but between the siblings, it is silent. 

BB-4 Long Voyage:

There will be no reconciliation. I have never shied away from violence.

A long voyage undertaken precisely because Theresa is aware there will never be any reconciliation.

BB-5 Fires of Uprising:

Some Sarkaz continue to seek a path of peace.

While the fires of uprising blaze, Theresa is dedicated to the ones who still seek peace, as their leader.

BB-6 Flickering Light:

The banner of war flies high in the distance.

The banner of war may cover the light of hope that Theresa brought the Sarkaz, and her light, this hope, flickers behind it weakly.

BB-7 Rising Shadow:

I see the Sarkaz’s desire for vengeance.

The Sarkaz’s desire for vengeance becomes the shadow that swallows the light of hope. 

BB-8 Final Countdown:

If this is your choice…

Both the twins make the choice to take each other out at the same time and that becomes the final countdown. One must die, because Theresa will accept this choice. 

Interpreted these as a sort of speech to Babel, telling them what has happened and why they must leave Kazdel. It is an expression of strength in the face of betrayal, and an assurance that Babel will carve its own path for the ones who want peace, because Theresa sees how there are those who want war and revenge; because Theresa wanted to respect their choice, she will respect even this choice!

BB-9 The Dust Has Settled: I’m sorry, child. This should have been my burden. Self-explanatory. BB-10 Goodbye, Goodbye: Farewell, Doctor. All this should have belonged to you. One’s memories, one’s being, should belong only to oneself. PERSONAL feelings that are only expressed to the people right next to her before death, Amiya and Doctor respectively. There is nothing left for Kal’tsit except for what she said through Amiya. 

Also, this is set in “you the future, take my gifts” because Amiya (the inheritor of her gifts) and Babel are the future that Theresa so carefully sowed the seeds for, becoming the soil that must never be able to watch these seeds bloom. 

Now for the EX stages, the description's of which are Theresis's perspective:

BB-EX-1 Pack Up:

You know that both of us have gone with the tide.

They both know that their people made the choice. Babel must pack up and leave, taking its great aspirations along.

BB-EX-2 Held Breath:

Sarkaz will render judgement with war. We are strong.

Is it fate that guides war to the Sarkaz, or is it the Sarkaz who render judgement through it as the strong must? They are in limbo with held breaths, but no reconciliation is possible anymore.

BB-EX-3 Severed Horn:

From betrayal, vengeance. From destruction, rebirth.

To kill Theresa, to betray her is necessary for the vengeance of the Sarkaz. Destruction is necessary if they are to be reborn, the destruction of both the non-Sarkaz and of Babel. The assassins sever their horns because they recognise their betrayal.

BB-EX-4 Wrapped Shroud:

Violence is the only answer to hatred.

This is Theresis's answer, but is violence the only answer to hatred? The hatred that is the Sarkaz’s own, or the one foisted on them? All hatred becomes the same behind a shroud - much like all dead people are the same underneath one.

BB-EX-5 Through the Wilderness:

Some Sarkaz continue to reproach their king.

And they are listened to, as the assassins traverse the wilderness in reproach of their king. 

BB-EX-6 Over Obstacles:

The roar of war echoes in the distance.

The roar of war passes over any obstacles in its path to come closer, closer, closer.

BB-EX-7 On the Ship:

I hear the Sarkaz’s call for love.

The ship, Babel, speaks of the Sarkaz’s call for love, but it is only when the assassins have made it there in the name of hate. Who listens to the call for love? ALSO ITS ONLY NOW THAT THERESA LISTENS TO THE CALL FOR WAR, AND THERESIS LISTENS TO THE CALL FOR LOVE. LIKE ARE YOU CRAZY.

BB-EX-8 Towards Death:

Goodbye, my enemy. Goodbye, my kin.

If this is your choice… goodbye, goodbye. Go towards death, my kin.

NO EX-9 or EX-10 stages because there are no personal thoughts that Theresis can express to anyone after Theresa’s death. While Theresa died she had Amiya in her arms, but Theresis was alone on the steps of Westhalag. Also, this is set in “you the past, ward me” BECAUSE THERESIS AND THE SARKAZ WHO WANT WAR ARE STUCK IN THE PAST!!

[oseaflower]

there's a lot in the babel event UI that's greatly interesting, but just a little follow up on this post about how the stage descriptions in normal stages corresponded to theresa and the ones in ex stages corresponded to theresis

[oseaflower]

the map, kazdel, and theresa's beating heart and hope

[oseaflower]

manfred and ascalon

[oseaflower]

mini analysis on babel stage maps

title: stage description

my thoughts

This goes through the normal and ex stages with the view that the stage descriptions of the normal map correspond to Theresa's journey, the stage descriptions of the ex map correspond to Theresis's divergence and subsequent journey (including the determination to kill Theresa, which is what the ex stage title show by taking the perspective of the assassins sent by Theresis). Someone on twitter made the connection that these were a conversation between the twins. For ease I include the English compilation:

BB-1 Great Aspirations:

I knew this day would come.

The Sarkaz’s ‘great aspirations’ but more specifically Theresa’s, because of the fact that none except her and those who believed in her could even imagine them ever coming true.

BB-2 Where Fate Guides:

Sarkaz [have] never been destroyed by war. We are strong.

INSANE title because neither of the twins believe in fate! Corresponds to the attack on Kazdel and also taking in Ascalon despite the prophecy. While they do not believe in fate they are still somehow GUIDED BY IT. Also can be interpreted as while fate guides the Sarkaz to war, they have never been destroyed and stand strong.

BB-3 Silent Crack:

Today, though, we face the tragic reality of disunity and betrayal.

Crack in the aftermath of rising sentiment against outsiders and non-Sarkaz in Kazdel bc of Babel. This ‘crack’ is not silent at all within Kazdel and the reality of disunity is clear for all but between the siblings, it is silent. 

BB-4 Long Voyage:

There will be no reconciliation. I have never shied away from violence.

A long voyage undertaken precisely because Theresa is aware there will never be any reconciliation.

BB-5 Fires of Uprising:

Some Sarkaz continue to seek a path of peace.

While the fires of uprising blaze, Theresa is dedicated to the ones who still seek peace, as their leader.

BB-6 Flickering Light:

The banner of war flies high in the distance.

The banner of war may cover the light of hope that Theresa brought the Sarkaz, and her light, this hope, flickers behind it weakly.

BB-7 Rising Shadow:

I see the Sarkaz’s desire for vengeance.

The Sarkaz’s desire for vengeance becomes the shadow that swallows the light of hope. 

BB-8 Final Countdown:

If this is your choice…

Both the twins make the choice to take each other out at the same time and that becomes the final countdown. One must die, because Theresa will accept this choice. 

Interpreted these as a sort of speech to Babel, telling them what has happened and why they must leave Kazdel. It is an expression of strength in the face of betrayal, and an assurance that Babel will carve its own path for the ones who want peace, because Theresa sees how there are those who want war and revenge; because Theresa wanted to respect their choice, she will respect even this choice!

BB-9 The Dust Has Settled: I’m sorry, child. This should have been my burden. Self-explanatory. BB-10 Goodbye, Goodbye: Farewell, Doctor. All this should have belonged to you. One’s memories, one’s being, should belong only to oneself. PERSONAL feelings that are only expressed to the people right next to her before death, Amiya and Doctor respectively. There is nothing left for Kal’tsit except for what she said through Amiya. 

Also, this is set in “you the future, take my gifts” because Amiya (the inheritor of her gifts) and Babel are the future that Theresa so carefully sowed the seeds for, becoming the soil that must never be able to watch these seeds bloom. 

Now for the EX stages, the description's of which are Theresis's perspective:

BB-EX-1 Pack Up:

You know that both of us have gone with the tide.

They both know that their people made the choice. Babel must pack up and leave, taking its great aspirations along.

BB-EX-2 Held Breath:

Sarkaz will render judgement with war. We are strong.

Is it fate that guides war to the Sarkaz, or is it the Sarkaz who render judgement through it as the strong must? They are in limbo with held breaths, but no reconciliation is possible anymore.

BB-EX-3 Severed Horn:

From betrayal, vengeance. From destruction, rebirth.

To kill Theresa, to betray her is necessary for the vengeance of the Sarkaz. Destruction is necessary if they are to be reborn, the destruction of both the non-Sarkaz and of Babel. The assassins sever their horns because they recognise their betrayal.

BB-EX-4 Wrapped Shroud:

Violence is the only answer to hatred.

This is Theresis's answer, but is violence the only answer to hatred? The hatred that is the Sarkaz’s own, or the one foisted on them? All hatred becomes the same behind a shroud - much like all dead people are the same underneath one.

BB-EX-5 Through the Wilderness:

Some Sarkaz continue to reproach their king.

And they are listened to, as the assassins traverse the wilderness in reproach of their king. 

BB-EX-6 Over Obstacles:

The roar of war echoes in the distance.

The roar of war passes over any obstacles in its path to come closer, closer, closer.

BB-EX-7 On the Ship:

I hear the Sarkaz’s call for love.

The ship, Babel, speaks of the Sarkaz’s call for love, but it is only when the assassins have made it there in the name of hate. Who listens to the call for love? ALSO ITS ONLY NOW THAT THERESA LISTENS TO THE CALL FOR WAR, AND THERESIS LISTENS TO THE CALL FOR LOVE. LIKE ARE YOU CRAZY.

BB-EX-8 Towards Death:

Goodbye, my enemy. Goodbye, my kin.

If this is your choice… goodbye, goodbye. Go towards death, my kin.

NO EX-9 or EX-10 stages because there are no personal thoughts that Theresis can express to anyone after Theresa’s death. While Theresa died she had Amiya in her arms, but Theresis was alone on the steps of Westhaleg. Also, this is set in “you the past, ward me” BECAUSE THERESIS AND THE SARKAZ WHO WANT WAR ARE STUCK IN THE PAST!!

[oseaflower]

Hi

I hope my message finds you well 🍉❤️

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[oseaflower]

Hi 👋, My name is Mohammad, and I’m reaching out in a moment of desperate need. I’m a father of three young children living in Gaza, and we are caught in the midst of a catastrophic war. Our home is no longer a safe haven, and the future here seems increasingly uncertain. 💔

I’ve launched a fundraising campaign with the goal of raising $60,000 to relocate my family to a safer place where my children can grow up in peace and have a chance at a brighter future.

Unfortunately, my previous fundraising efforts were abruptly halted when my account was terminated without explanation. However, I remain determined to keep fighting for my family’s safety and well-being. 🫶

If you could take a moment to read our story, consider donating, or simply share our campaign with others, it would make an incredible difference. Every act of kindness, no matter how small, brings us one step closer to safety and a new beginning. 🙏

Thank you for your time, compassion, and support. ❤️‍🩹

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[oseaflower]

white americans when you tell them that the idea of climate change as an impending disaster is a reductive first world perspective because it’s a tangible reality for many in the global south already:

[oseaflower]

[Babel] Theresis, Theresa, and the Sarkaz Identity

Spoilers for Babel event under the cut. Not exactly a character analysis but take what you will out of it. Very rambly.

We already know how the Sarkaz are persecuted and discriminated against by all of Terra, and that there are Sarkaz diasporas spread throughout the world. This event, being Kazdel focused, brings to the fore the difficulties the Sarkaz face from forces within and without. The above example is very brief but very good — contempt of the Sarkaz goes so deep it becomes disdainful to even recount. The Sarkaz are not synonymous with war — war is brought to them constantly by different oppressors, such that the end result is mistaken as the 'cause.' Their technology or tactics are not worth crediting, because a racist attributes any achievements made by the people they deride as 'sheer luck.' This is the same underestimation that Theresis takes advantage of in Londinium.

The nature of oppression is that the oppressed internalise many of their oppressors' actions. Scareye, like the non-Sarkaz on Terra, buys wholesale into the belief that the Sarkaz 'thrive on chaos,' and will be unable to catch up to the other nations of Terra regardless of what lengths they go to. The Sarkaz are not a monolith, nor are they really of the same race, but they are all 'Sarkaz' by virtue of their shared oppression. The commonality for constructing a Sarkaz identity thus falls not on any shared racial traits or cultural practices, but on the trauma of oppression and the oppressors' narratives of the 'Sarkaz' as the derogatory umbrella classification thrust upon whoever was seen as undesirable for being different to the Ancients and Elders.

Another important point here is that the other Terran nations can accept the Sarkaz as mercenaries — those that are merely hired to die, as expendable bodies — but not otherwise. Theresis raises this point during the meeting of the War Council but just keep it in mind how Scareye even goes as far as saying that this is a viable way of life for the Sarkaz. Sarkaz self-determination is seen as a 'target' for the other nations.

Theresa and Theresis converse about the Battle of the Four Emperors and it is notable how Theresis's concerns have to do with the militaristic, and when Theresa raises the subject of Babel as an organisation that will surpass race and nation he remarks the Sarkaz will not accept it. Theresis's perspective of the Sarkaz is informed by both the wars he has lived through and the wars he anticipates — and because those wars are built on discrimination, he is not able to imagine a world where the foundation of 'discrimination' and 'otherness,' the division between the Sarkaz and the non-Sarkaz, does not exist. He seeks unity between the Sarkaz (even when they're not a monolith, and actors like Duq'arael place even more important on bloodline than arguably some non-Sarkaz might), because if they have been defined as the Sarkaz by external forces, he wants to reclaim that definition as strength in unity. And to him, war also offers opportunity for the Sarkaz to unite.

At the same time, though his primary concern is the Sarkaz who are only able to survive as mercenaries, he appears to believe that the Sarkaz like Patriot in Ursus who fight for Ursus, slaying their fellow Sarkaz in the process, are Sarkaz in the end and thereby from Kazdel. This replicates the outlook of the other nations who do not consider Sarkaz as part of their nations regardless of how long they have lived there or if it is the only real home they know of. By only acknowledging Kazdel as the home for the Sarkaz, Theresis is inadvertently denying the home that some Sarkaz have chosen for themselves as well. When war is seen as a unifying force, what your identity is formed on, those who do not unite during war are going against this definition of what it means to be Sarkaz.

Theresis also considers the Sarkaz as a whole — he sees their oppression, and sees their anger, and believes it cruel for the Sarkaz to let go of their hatred. He believes that, because the other Terran nations will not let the Sarkaz exist peacefully, the Sarkaz should become powerful enough to fend off all nations, and with the context of their concerns in Babel that means any alliance against the Sarkaz, so even all nations at once if ever that happens (also in Londinium, 10-1).

Theresis adopts the perspective of a conqueror — he says that war is a Sarkaz want in Londinium. He listens to his people fist and foremost, only to grant their basest wishes, the now takes precedence over the future which — to Theresis — the Sarkaz may not even have if he does not pull through now. He calls time a luxury. While Theresis's perspective is pretty much justified — it is a simple fact that Sarkaz persecution is a present issue, and oppression cannot be fought with peace and understanding — he is unable to see beyond the concept of 'rising' in the way his very enemies, the other nations of Terra who have trampled the Sarkaz thus, define it. He also sees the rise of Kazdel as the rise of Kazdel the city — the nation — the concept as the home of the Sarkaz that allows the Sarkaz the power to fight and win. He wants to reclaim their lands, rebuild their homes, then end discrimination, and the 'reclamation' that falls first in that order necessitates conquest. 'It shall be more,' and the definition of more is not the Sarkaz's own, but of their oppressors', because that is the definition under which they have been oppressed so far. The definition of 'more' is more force, used to take more land, and to rise and prosper is to eventually dominate such that they may never be oppressed again, that fear keeps their enemies in their place.

Theresis's perspective culminates in Theresa's death, and in Londinium's occupation. Theresis leans into the idea of Sarkaz as war, as bringers of fear, almost justifying the first fear of the 'outlanders.' While his perspective is understandable, he makes the mistake of not looking far enough all while telling Theresa her gaze is fixed too far. He feels the city hunger for war and that is all he can hear. Even when a Sarkaz kills a Babel doctor simply for being from Leithanien, saying he 'only fought Leithaniens' because he did not recognise her as being Kazdelian by this point, Theresis reaffirms this by not investigating the Sarkaz for 'an outsider.'

Theresa's perspective on what the Sarkaz should be — what they can be, and what Kazdel should enable — is to offer the Sarkaz a choice of their own. Theresis looks at who the Sarkaz 'are,' while Theresa looks at what they can be. Theresa sees that the Sarkaz believe in their own 'bloodlust,' in the narrative that the Sarkaz are war itself, and holds the perspective that they think this way because they have never known any other way. Their oppression and their oppressor's narratives about the Sarkaz have trodden underfoot even the Sarkaz's own ideas of what they can do as people living on Terra. When no opportunities are open to you for generations and generations, you start to believe your people are only meant to do one thing (like dying as mercenaries in other people's wars, or waging wars, or being war). Theresa and Theresis have, unlike most other Sarkaz, had the experience of travelling outside Kazdel, of seeing and hearing about different possibilities to life on Terra. Theresa wants to bring this to the Sarkaz who do not know anything but slaughter (perpetuated by and against them in an endless cycle of hatred, fear and vengeance). In addition to having access to the memories stored in the Crown, she has also had contact with Kal'tsit, hearing of different perspectives from someone who has seen so much, and knows that the Sarkaz diaspora across Terra has even more people than Kazdel itself. 30-40% is extremely low, and if the King of Sarkaz is to be the King of Sarkaz, then she cannot solely be the King of Kazdel.

Theresa, as the King of Sarkaz who 'represents no bloodline,' takes it a step further than representing no Sarkaz bloodlines, and envisions a world that is good to all, whether they be Sarkaz or not. Kazdel is a 'belief' at the same time it is a nation, and Babel is that belief crystallized, an attempt to bring together everyone who believes in Theresa's ideals of equality, and of the Sarkaz truly being part of Terra's destiny into the future as they have been in the past. These ideals are based on time, education and understanding uniting the Sarkaz in the stead of war. She seeks a borderless world. She's an idealist who sees much further than the Sarkaz who are worrying about their next meal, and that becomes an insurmountable chasm.

It's also worth noting that the twins are mixed-blood. Unsure with what exactly, but their Sarkaz identity overshadows whatever else they may have inherited because that is how they present. Within the Sarkaz, this makes them uncaring of the purity of their blood (thanks Sanguinarch), and for Theresa specifically, may have a role in letting her see others beyond the physical appearance granted by race. Interestingly, the Crown also reveals what is beyond the physical through a person's emotions, and so Theresa may have had more vectors than Theresis to think on and form her opinion of Sarkaz identity as not being restricted to being 'Sarkaz' and defined by oppression. She acknowledges the 'innate instinct' of the Sarkaz, but never claims that that instinct is only related to war or destruction.

Theresa's vision, through Babel, is actively being adapted by Sarkaz like Goodluck and others who relied on Babel as well. Odda (the Caprinae) being invited to an occasion that was reserved for the Sarkaz, because she is seen as one of their own at this point, is something that could not have been possible otherwise. She is even called a hero!

It is unfortunate that in the pursuit to avoid fragmentation within the Sarkaz in relation to Babel, the twins unintentionally leave space for rifts to widen. The people themselves block the path from Theresis's present, with the Military Commission's ideology, to Theresa's future with Babel's ideology. While this is not a choice they made, but one made for them by the people, a desire to prioritise the emotions of Kazdelians — no matter what — proves disastrous for Babel and, with Londinium, has the potential prove terrible for all Sarkaz in the future. Even when there are signs of greater interference in cases like Odda's death, the true culprits are not brought to justice to avoid dissatisfaction; but because of this, Babel is blamed for its own misfortune. Like 'Teacher' said, Kazdel's public thinking could not keep up with Theresa's vision, and with Theresis supporting the voices of the majority clamouring for war, peace for the Sarkaz is brought to an end. Once again, there is only one way for the Sarkaz to survive — mercenaries now sent to Londinium, dragged into another war for money. The pursuit of money to survive, too, is enforced on the Sarkaz by their oppressors, because their own industries or ways of sustaining themself have been left crippled over the centuries. Theresa opposes Theresis's use of their oppressors' methods in this way — he, too, is treating the Sarkaz as tools of war; even if that is what they 'want,' it pains her because she sees another way, and this one leads to tragedy.

It must be noted that Theresis does not deny Theresa's perspective or her vision, even when he does not approve of it he pledges to support her. He teaches Manfred there are more important things than violence, and he is vocally reluctant for Theresa to leave Kazdel. He remarks that he wants to reach all the children of Kazdel the way they changed Ascalon and Manfred — it is almost that he longs for Theresa's vision to be true, he just cannot accept it because it is, again, not compliant with the foundation of pain and discrimination that informs his worldview. He does not find it realistic even though he may wish it were — and he measures it by his own (the Sarkaz majority's) standard (of strength and dominance), which defaults back to conquest. Between him and Theresa, the one who survives will therefore have the ideals that are 'worth' the blood of the Sarkaz. He even asks Theresa's warriors in Londinium to prove to him that her path still holds a chance to win the Sarkaz a future, and that the peace they strive for is still worth a response. He wants them to show him that her path can also survive. It might have given him hope — at last — if he was defeated there. Theresa, who brought hope to so many, could not quite bring it to her brother.

In the end, Babel's fall justifies his perspective. Losing his only kin meant he lost any hope he could have had in time — and not war — being what would unite the Sarkaz someday.

[oseaflower]

Babel.

[oseaflower]

I genuinely don’t know how I’m supposed to cope with just. Encountering zionists.

I was in an idol server talking about girl groups I liked. And two people started talking about how scary and annoying the bombing is and how they can’t wait to go on vacation after the terrorists are killed. And saying shit like “[jpop idol] will help us beat hamas!” Hello? What world do you live in?

What world do you live in where your heart is not torn open and bleeding? How do you look at the death tolls and think about vacation? Why do you hold up a teen girl celebrity from another country as a symbol of massacre?

At work we have a customer who is notorious for being an issue. Today she emailed in asking if we could ship to Israel. We can’t, we only ship domestic. But I just couldn’t answer her. I couldn’t email back. I had to send it to my boss.

I don’t know anything about her or her politics or her beliefs. But the thought of someone casually sending a $200 gift to Israel without a second thought just kind of broke me. Genuinely what world does she live in. Who is she gifting this home goods product to? Clearly they don’t intend to leave if she’s sending them $200 worth of home decor. What are these peoples lives like?

The weight of an entire genocide is more than one person could ever bear. Are you not torn to pieces trying to carry even a fraction of it? Do you truly feel nothing?

If you feel something at reading all that, please match my $20 donation to Mohammed. He has a beautiful family that he worked so hard for.