Myriad Magazine - Volume 4 2020 by UMSU communications

CRISIS

RENEWAL

VOLUME 4 2020

Editor’s Note

Acknowledgement of Country Myriad Magazine would like to acknowledge the true custodians of the land this magazine is published on: the Wurundjeri Peoples of the Kulin Nation. We pay our deep respects to their Elders, past, present, and emerging. Further, we pay respects to all those in community and on Country, who have fought and continue to fight the legacies of colonialism and white supremacy every day. We celebrate the rich history of culture and storytelling on these stolen lands, sovereignty to which was never ceded. As you delve into these stories, we encourage you to also seek out the stories of the people on whose land you settle. A part of this year’s edition explores crisis, of which there have been many. In America, protesters rallied against the murder of George Floyd, and the many unfortunate deaths that preceded his. In Naarm (Melbourne) too, people rallied against institutional racism, reflected through police brutality and the disproportionately high rates of Aboriginal incarceration and deaths in custody. The sacred Djab Wurrung Tree was torn down, even as thousands guarded the site with their lives. As allies and Settlers, we send love, strength, and solidarity to First Nations peoples. Together, we can decolonise this land and restore on it the community to whom it belongs. Written by Mariam Nadeem

This is a special edition for many reasons. In a pandemic, we discovered the pains and joys of solitude. The inequalities present for decades became apparent. Marginalised communities were especially affected - monitored, forced into lockdowns, and subjected to illegal detention and police brutality. We worried for our loved ones and our jobs, our education, and our mental health. The meaning of home transformed. It was not an easy time to write and create (unless you’re Taylor Swift). The pieces you’ll see in this short edition are a testament to the resilience and commitment of your community – commitment to sharing comfort and critique from (POC) voices we desperately need to preserve. Although we aim to represent the duality of this year through a division between CRISIS & RENEWAL, we recognise that these are not dichotomies. Many of us oscillate between the two, while crisis often necessitates renewal. The pieces in this edition embrace this fluidity, traversing from crisis to renewal, reminding us of the living, breathing nature of hope. We want to thank first and foremost, our contributors. It was a privilege to read your moving, inventive and critical work. We also want to thank the subeditors; without whose help this wouldn’t be possible. Lastly, we want to acknowledge the (two sets of!) Office Bearers from the People of Colour Department for their guidance and encouragement. This shorter edition remains as meaningful a platform as ever for students of colour at the University of Melbourne. It was a privilege to bring it to you. All the love, Mariam, Shivana and Steph

table of

contents Acknowledgement of Country........................................................................................................2 Welcome Note The Editors................................................................................................................3 Our Team...................................................................................................................................................4 Who Are We? Cathy La 羅彩梨........................................................................................................6 Hoa Sen Cathy La 羅彩梨....................................................................................................................7 Ideation and Reprisal Student A................................................................................................8-9 How a Nostalgic Video Game Gave Us Comfort Nana Nonaka............................10-11 Self-Portrait Chelsea Rozario..........................................................................................................12 Musings of an Amateur Pornstar Chelsea Rozario..............................................................13 Solstice Jacey Quah.............................................................................................................................14 'DICKS' Attempt to Save 'Historic' Statue Built in 2004 Pavani Athukorala............15 Domestic Violence Shadows the Wellbeing of Indian Women in Australia Prealene Khera.................................................................................................................................16-18 Introspective Study of the Self during Melbourne's Covid-19 Lockdown Stephanie Siu..........................................................................................................................................19 Always Will Be Danushi Rajapakse.............................................................................................20 Representation Doesn’t Matter? Danushi Rajapakse........................................................21 Modern Activism and its Utility of Revolutionary Language Lindsay Wong..22-23 Dionysus Chelsea Rozario................................................................................................................24 Me and My Husband Chelsea Rozario......................................................................................25 The Time Ripper Theresa Gunarso........................................................................................26-27

It was some time ago A new branch began to form A meagre speckle on the tree of life A new being comes into existence It has no name but eventually learns to name Who are they? Call me a pig, a monkey, a donkey, or a cow I grimace at such derogatory epithets For I am of a superior species Who are we?

by Cathy La 羅彩梨

Who are we?

Why, we are Homo Sapiens! Builders of the modern world Inventors of culture Luminaries in the art of love Not nearly as lowly as our non-human counterparts Never as stupid, unfeeling, uncivilized, or barbaric Yet we remain creators and victims of war Submerged in our own folly We cut a scar in her skin Pry it open Chip away at her spirit Reap the harvest with little remorse Who is she? Why, we call her Mother Earth Though I would never treat my own mother like so Sometimes she screams Listen carefully To the roar of the lion A bullet has pierced its flesh Look carefully At the flight of the bird Its home is gone The tree of life sways Its branches are breaking off too quickly Our Mother warns us sternly We cover our ears and sing Scientists will scratch their heads Philosophers will stroke their beards Humanity can be so far away from humanity What are we?

Hoa Sen (2020) Cathy La 羅彩梨 Acrylic on paper 29.7 x 42 cm Hoa sen, commonly known as the lotus flower, is the national flower of Vietnam, where La’s father was born. It is regarded in several cultures and religions as a symbol of purity and rebirth, because the lotus can produce a clean and beautiful flower even when its roots are in murky waters.

Ideation (2019) Anders McDonald Photograph 5304 x 7952 px Submitted by Student A (model) “I can’t go home. It’s lonely here, thousands of kilometers from what I call ‘family’. In the dark, I lose track of what surrounds me. I don’t know what lies ahead. The expressionless mask is testimony that I no longer know who I am.” 8

Reprisal (2019) Anders McDonald Photograph 5304 x 7952 px Submitted by Student A (model) “Throughout this year I’ve developed strength. The light itself is proof of hope. Instead of being restricted by limits I’ve bound to myself, I will make them my own and become free.” 9

how a nostalgic video game gave us comfort by Nana Nonaka My very first encounter with Animal Crossing, a sweet and whimsical life simulation video game, was when I was a shy and insecure nine-year-old child. At the time, I wanted to feel a sense of belonging. I lived in a small bubble in a white suburban neighbourhood that somehow convinced me to feel embarrassed about my Asian ethnicity. I felt significantly different to my peers who only spoke English at home and were repulsed at the idea of eating rice. As an introverted kid, I became glued to my Nintendo DS. Something about Animal Crossing’s utopian island and happy-go-lucky animal villager friends gave me a deep sense of comfort in a world that didn’t fully understand me. Thirteen years later, I have overcome my self-esteem issues but my escapist gaming habits haven’t really changed. Amongst the chaotic and depressing news cycle and Coronavirus-induced recession, I have found myself reaching for my Nintendo Switch to play the same game franchise every night to avoid the turbulent reality of 2020 – even if it is just for 30 minutes. Animal Crossing has taken the world by storm during quarantine. The Animal Crossing: New Horizons that was

sense of fulfilment because it makes me feel productive and accomplished. Which I admit, is rare for me to experience outside of my day job.

introduced this year, had one of the strongest launches among any Nintendo Switch game. It sold more than 22 million copies and became the best-selling game in its 19-year old franchise. This rise in popularity, particularly amongst millennials, is no doubt fuelled by a mix of nostalgia and escapism that we are desperately seeking this year. It’s everything the 2020 news reports doesn’t seem to be: Peaceful, light-hearted and gentle.

Another therapeutic aspect of the game is that you can see your hard work pay off when your island flourishes. Hours of dedication in accumulating furniture doesn’t seem too bad if your island is looking like a Cottagecore dream. We’re given opportunities to project our unrealistic dreams into a small virtual world in the game – owning an uberstylish and sleek four-bedroom mansion that’s worthy of a feature on Architectural Digest is highly achievable.

The main activities in the game include decorating and customising a deserted island from scratch, visiting other islands, building friendships with animal villagers, catching insects, fishing and paying a hefty mortgage to expand your home.

The light-hearted and slow-paced nature of the game helps me wind down after a long day of adulting. It’s that one nostalgic and wholesome game that lets me gain control when everything feels uncertain due to the pandemic. It’s a good form of escapism because, heck, even social media screams at me to get my life together.

Some may argue that slaving away to pay a virtual mortgage to an unenthused, monopolistic racoon sounds like an unappealing downtime activity given our current economic climate, but I think it’s super fun and therapeutic. To build wealth in the Animal Crossing world, you simply need to run around your island to find lucrative insects, fish and fossils to sell to your adorable shopkeepers and shake some money trees. Unlike the real world, paying debt is simplistic and achievable. Smashing through these tasks and having a great deal of creative control has given me a

If I told my nine-year-old self that I’d still be playing this incredibly childish game as an adult, I would have been a little concerned. But I’m glad that it made an unexpected comeback into my life a decade later and left a positive effect on my mental health. I just hope though, that my island doesn’t get too infested with weeds when the world goes back to normal and there is no time for games.

Musings of an Amateur Pornstar

Self-Portrait (2020) Chelsea Rozario Acrylic on canvas 30 x 25 cm

by Chelsea Rozario *Content warning: contains sexual references and explicit language

Write something everyday, sad in bed everyday. (Something about a duck?) I am holding a sick duck and sobbing. He flies into the pond splish splash; turns into seafoam, daffodil petals and algae. I have Pornhub trauma: #indiangirls. I am everyone’s exotic hottie in my mania, (Something about a duck.) Never have I ever fucked a white rapper. But creativity called and she is beautiful. Intrusive thoughts are getting better..I think. Only there when I roll my own darts, sit in the sun, soak my feet in potting mix and fish ponds. (The duck.) Lucid dream state, mugwort clouds, Lilith candles and goddess energy. I can’t stop thinking about the duck. Rozario’s self-portrait encapsulates the renewal and rebirth of colour from their body in a post-Covid grey hellscape.

The Myriad Today’s Story

DICKS Attempt to Save ‘Historic’ Statue Built in 2004 By Pavani Athukorala Posted 30m ago, updated 8m ago

solstice by Jacey Quah ungodly hour, its serrated blade flush upon damp skin. pulsating, violent, a writhing swarm it is the cicada’s cry of night the unseen sound – an unravelling chorus, a shrill sting crawls inside every crevice innocent screams woven into blind lament; our echoes fill the urban jungle. we bear that timeworn dust, those hushed, ghostly voices… that itch of what once was yet we remain a silent roar, that moment of suspense before we recede

once more they stroke us gently, empty pity caresses our peeling limbs smeared bug stains on that sterile white wall they avoid our kaleidoscope eyes. ah, it’s that time of the year again – where’s the bug spray?

Image desc: statue of dead racist white male with “DICKS-protected” printed on top

A local organization named Dudes Interested in Conserving Key Statues (DICKS) has launched a fervent campaign to protect a ‘historically significant’ statue located in the City Park. The statue features a Caucasian male on horseback who none of the group’s members can identify. Despite this, and despite no one except themselves having expressed any interest in the statue, members from DICKS have taken to camping out by it every night to protect it from ‘vandalism’. “That right there is a great man,” declared Joel McCarthy, founder of DICKS, in an Instagram video livestreamed from his tent at the statue’s base. “I know it in my heart, and no baby-killin’, Marxlovin’ fake-news historian can tell me otherwise”. Emergency services were called to the City Park yesterday after three group members contracted frostbite after prolonged exposure to the elements. They are currently in recovery. According to Dr. Linda Wong, a history professor at a local community college: ‘No evidence suggests that this statue is of historical value. In fact, the very idea of ‘historical value’ is a dog whistle that allows for dead racists to be celebrated by living racists.’ Myriad has since ascertained that the statue was in fact built in 2004 as a prop for the music video of socialite/singer/actress Paris Hilton’s song “U drive me wild <33”. A source from Hilton’s team commented: “We totally forgot that was still there! Paris is so sorry and is sending people to take it down ASAP!” DICKS could not be reached for comment about this new development.

**Racists are up for mockery; racism is not. Reader, I enourage you to actively pursue anti-racist education, and to donate to racial justice causes whenever possible.

Domestic violence shadows the wellbeing of Indian women in Australia by Prealene Khera *Content warning: contains violence

A Facebook post titled “Anonymous” — describing an abusive experience — is being typed out, against the backdrop of the coroner’s investigation into six women’s deaths in Melbourne’s north. The women, all from Whittlesea, took their own lives within months of each other in 2018 and 2019. The women were all mothers between the ages of 29-40. Family violence, including dowry demands and the stigma of divorce, could be responsible for a surge in suicides among women in the South Asian community, according to the findings published by the Coroners Court of Victoria in September. The coroner, Audrey Jamieson, took the unusual step of investigating the deaths as a cluster to highlight systemic issues. The findings highlight the collective presence of social isolation and financial dependence as potential stressors. There have also been previous incidents of domestic violence in some cases. Ms Jamieson has outlined strategies to cope with the rise in suicides after consulting community leaders and suitable organizations, including Victoria Police, Whittlesea Community Connections (WCC), and the Department of Health and Human Services (DHHS). The coroner has urged DHHS to take 16

action by reviewing “current services that support the health and wellbeing of South Asian women in the City of Whittlesea.” Victoria Police have been requested to allocate Family Violence Investigation Units to look into the deaths of women from culturally and linguistically diverse (CLAD) communities, in circumstances where it is believed that family violence was a contributor. As the Court announced the findings, Whittlesea Community Legal Service (WCLS) contacted the DHHS Secretary, Kim Peake, to set up an urgent meeting and discuss solutions that could save other vulnerable women’s lives. Chris Howse, the principal solicitor at WCLS, has been at the forefront of bringing the cases to the Court’s attention — resulting in the investigation. “It’s about mothers. It’s about despair. It’s about kids left behind and the need for hope,” said Mr Howse. He hopes that with the help of the Secretary, the community can help women to “resist the despair that brought on these suicides, so families in Whittlesea avoid tragedy and irreparable loss.” The legal service has started holding fortnightly Zoom meetings in which a few Indian women are encouraged to bring friends. The women take the lead in discussing how to engage with other

women and increase awareness of help and resources.

women in Australia and takes place across all cultures and faith groups.

At the last meeting, the challenge was to come up with a reassuring name for the group. They chose the Hindi word Saheli, which translates as “female friend.”

The institute says women from refugee backgrounds are particularly vulnerable to financial abuse, reproductive coercion, and immigration-related violence.

But other issues were more demanding. Some women opposed distributing the number of the domestic violence hotline, saying it would alert men to the group’s subject, and they might prevent their wives from attending. Emma Antonetti, the moderator of the meetings, wasn’t shocked. “I hear that from a lot of different communities,” she says. She says gender inequality is universal, but services need to adjust to being “appropriate to the Indian community.” Social workers agree with Ms Antonetti. It is essential to look at the structural and institutional barriers that migrant women face when seeking help, says Jatinder Kaur, the Director of JK Diversity Consultants and a Ph.D. student at the University of Melbourne. She notes that frontline responders in the domestic violence space often lack the necessary skill of using interpreters, adding to victims’ vulnerability within CLAD communities. There is the reluctance of police officers to be culturally responsive, says Ms Kaur. “We need to reframe that this is not a problem with the women seeking help. This is also a problem with the system.” Research conducted by the Australian Institute of Family Studies shows that Intimate partner violence (IPV) is the most commonly experienced form of family violence perpetrated against

According to Ms Kaur’s article published in Parity, out of 300 family violence case files registered with InTouch — a multicultural center that works against domestic abuse — an overwhelming number of women on temporary visas experienced harm or threats. 41per cent experienced choking,while 49 per cent were given death threats, and about 40 per cent of the women were stalked. Ms Kaur says that the Commonwealth Government does not provide “any special benefit” (Centrelink financial assistance) to family violence victims who are on temporary visa status, making it harder for these women to seek help. She asserts that the coroner’s recommendation of re-evaluating services in the family violence sphere is a win. Still, it is a process that must be implemented across the country. There is a need for a “robust evaluation” of family violence reforms and prevention initiatives within multicultural and faith communities — with an added emphasis on creating effective solutions for temporary visa holders — concludes Ms Kaur. Meanwhile, every time the page is refreshed, a new Facebook post with the haunting greeting “Anonymous” sits there, waiting to be scrolled through. As another post pops up, another call is 17

received. This woman had been hit five times by her husband, as well as verbally abused by her brother-in-law and his wife. Charges had been filed, and she was taken to a safe house. But when this woman rang community worker Dee*, all she wanted to talk about was getting back to her husband because he loved her. “But more than anything, she was scared her brother-inlaw and husband would come after her if she didn’t drop the charges,” says Dee. This is one of many calls from women in the Indian community that Dee remembers with pain and pity. Dee is part of a Facebook group called Indian Women In Australia (IWIA) which is also the platform that publishes the “Anonymous” posts. Like a page torn out of a diary, these posts narrate the victims’ suffering in rambling sentences — imitating their abuse that sometimes goes on for more than 20 years. Some experiences are weaved together: “tried committing suicide,” “will kill me,” and “can’t put my family at risk” are examples of pain that are shared across these stories. One’s cursor jerks between ‘exit page’ and ‘load more posts,’ mirroring the choice between apathetic observer and resilient helper. Dee chose to be the latter. But when she gave out her number as a community worker, she didn’t anticipate the complexity of the problem - she didn’t expect that the barriers to services were so high. Reena Rana, the admin of the Facebook 18

group with over 6,000 members, shares Dee’s sentiments. “I’ve gotten calls in the middle of the night because they don’t know where to go and what to do,” she says. Ms Rana believes that the women that reach out to her often do so just to “vent” because they aren’t hopeful of getting out of the abusive situation. “Some wives are treated like servants, and now, they’re okay with it.” While hope seems to whittle away, the online group relays some comfort. Like messages to a friend, the comments on the “Anonymous” posts are filled with love and empathy. They are the battle cries for their fellow women because the members know that the victims are fighting for their lives. Even though the posts always begin with “Anonymous,” they end with scores of women who aren’t afraid to share their numbers. With every post that goes up, a woman waits patiently by her phone. *Name changed on request of interviewee.

Lifeline: 13 11 14 National Sexual Assault, Domestic Family Violence Counselling Service: 1800RESPECT (1800 737 732) Safe Steps: 1800 015 188

Introspective Study of the Self during Melbourne’s Covid-19 Lockdown (2020) Stephanie Siu Oil on canvas 13 x 10 cm

This is a section of the full completed artwork measuring 40 x 30 cm

REPRESENTATION DOESN’T MATTER? By Danushi Rajapakse

I no longer seek to define my identity, I choose only to describe it. I find no ‘liberation’ in using someone else’s tongue to speak for me, nor do I feel ‘freedom’ in your tailor-made box, even if it is so perfectly cast around my flesh. The margins of race, sexuality and gender, are more aptly seen as experiences, rather than identity. They are profound and inescapable experiences, felt on personal, social and structural levels – yet I am denouncing them as my identity. In doing so, I can affirm the inconsistency and multiplicity of my being. It allows my marginalisation to be recognised but not internalised. This is only a slight Kanyesque delusion, as I acknowledge my (your) experiences (of which we extrapolate our identity) are not isolated from these modes of oppression. I also understand that the optics of media and representation are so potent, painting the aspirations of those who can dare to dream – for we can only become what we see.

colourism, we will continue to operate under hegemony, being forced to use our trauma and identity as currency. We have become so decentralised from the cause that I am convinced we don’t even know what we are fighting for. Our focus should be unity even without the uniformity. But, if I’m allegedly denouncing my SouthAsian Identity, how do I support Mindy Kaling? It is not a matter of discarding a label or wearing a lighter foundation shade. But I am going to try to depersonalise the politics of it all. I am trying to create a slight distinction between my personal experience as a Person of Colour and the communal identity we extrapolate from this. If all else fails, I might start finally reading the infographics. This piece is an addendum to Rajapakse’s piece from last year, States of Matter: Representation in its many forms.

Instead, the dissonance I feel in this current moment is with societal discourse (insert sounds of nausea and gag reflex). So often, our critiques of a new Netflix show focus on what is not there, instead of what is and what could be. It does go without saying, that the show in question should not go without a scathing review on Rotten tomatoes –but our efforts should be focussed on redistribution and revitalisation of the media landscape so that many more stories can keep getting the greenlight. always will be (2020) Danushi Rajapakse Digital artwork 210 x 297 mm 20

Until the boardrooms at Netflix match the posters; until Netflix celebrates dark skinned women instead of hiding behind

Modern Activism

BY LINDSAY WONG

Its Utility of Revolutionary Language

We might not think about it often, but activism and language are closely connected. Modern activism takes place both in-person, through protests and such, and on the internet, usually via a form of social media. Activists commonly utilize revolutionary language in order to bring about political and/or social change effectively. This kind of language must have some kind of transformative power that can persuade people to take action in support of a specific cause. Revolution is about undergoing dramatic change with wide-reaching effects, usually regarding an institutionalized system. As such, the language associated with revolution, which is most commonly used in activism and protests, is emotive, encouraging and uniting. It has the ability to unite people together under one shared cause, whether it be political or social, simultaneously establishing a social connection between those partaking in

the movement. Likewise, revolutionary language has to appeal to the masses and resonate with them, so they can reflect and take action. Because so much activism takes place online now, especially in the wake of 2020, when the COVID-19 pandemic is limiting physical interaction, language has had to be adapted for social media. Language used in modern activism should be short and catchy and easy to imitate. This would make it easier for users to repost and share on all social media platforms. Hashtags also play a significant role in raising awareness of social movements and disseminating information relating to that specific topic. Part of the 21st century has been defined by the Black Lives Matter (BLM) movement. BLM is the perfect example of radical media, which is, according to Valeriana Colon, “the use of media to … give voice to the underrepresented” and “[has] a transformative influence over public opinion.” Language is vital in communicating the message that activists have about the movement. In the context of the BLM movement, radical media has effectively been used to incite an emotional response and organize the masses to take action. The stronger the emotional response, the likelier chance that like-minded people will be united in the cause and people will take action that could collectively bring about monumental change. In the digital age, technology helps to disseminate information about the movement and provides evidence as

to why people need to take action, for example, shocking statistics and narratives about victims. As such, revolutionary language frequently uses words with high modality in its rhetoric, such as “must” and “need”. This kind of language implies that the situation requires immediate action taken. Words and phrases are also often repeated for emphasis. For example, when the BLM movement was first kicking off in 2014, a popular tweet from activist DeRay McKesson read, “Remember the beginning. Remember why we fight.” The verb “remember” is repeated, emphasizing the memories associated to the start of the movement and inviting people to collectively reflect on the past. The use of the word “we” is inclusive and unites everyone together for this cause.

In activism, language can become revolutionary if it has the power to provoke an emotional response and incite change among the masses. With technology becoming more advanced and allowing for easier dissemination of information, social media is becoming a central platform for modern activism. Its widespread use and ability can reach any corner of the world that has an internet connection. As the BLM movement is still far from over, revolutionary language is being used all the time to raise awareness of the ongoing injustice and encouraging people to actually do something about it. If used well, revolutionary language can push people to take action and spearhead a whole movement.

Twitter has become a platform for modern activism because of its global outreach and format. Activists are very active on Twitter to educate people about the movement and share relevant information. Revolutionary language is employed in tweets and usually accompanied by a hashtag. The 20192020 protests in Chile, in which Chileans protested against an increase in train fares, cost of living, privatization and inequality, also effectively used social media for their activism. They used slang in particular to invite people, especially the youth, to partake in the movement. As such, their revolutionary language is different from that of the BLM movement and tended to be funny and creative, often consisting of wordplay, which unites people as they look at the deeper implications of social media slang. For example, words like “fussy/rich” and “lower-class/trashy” illustrate the frustration of Chileans at the country’s stark differences between social classes. This demonstrates that revolutionary language differs depending on the context of the country’s particular situation. 23

Me and My Husband by Chelsea Rozario *Content warning: contains sexual references and explicit language

Dead strawberries, abandoned asylum, a lady bug lives on red geraniums. Smells like body odour and separated hemp milk. Australian sun burns brown skin, fades handpoked tattoos. Teaspoon sunbathes in rotting apple puree, I romanticise the rubbish that is life We hide under mustard blankets. You made this city girl douse herself in mud, seasol and kangaroo meat. Concrete heart to blooming vegetable patch, flower beds from broken skin, love like propagated lavendar on window sills. You find bits of me around the house. Malachite on marijuana, ash in coffee cups, rubbish scavenger hunt, apple stickers on my c*nt. Coexisting, happiness, can it really be? We are home now. Our children will be beautiful. Sunkissed, barefoot in overgrown grass, wildflowers raised by Wauthaurong souls. My ammachi lives in the butterfly in our backyard. Dionysus (2020) Chelsea Rozario Acrylic on canvas 55 cm x 40 cm

Rozarioâ&#x20AC;&#x2122;s interpretation of Dionysus, the God of wine, fertility, and ritual madness. During lockdown, the Greek deity reminded the artist that a renaissance of hedonism and celebration sits at the light at the end of the tunnel.

They will have Tamil and Wadawurrung names, eat mangoes with bare fists, juice dripping from sunburnt cheeks and toothless grins.

The Time Ripper by Theresa Gunarso Hear ye, hear ye—this is a decree from Queen Marjorie Retrieve the Time Ripper to be paid handsomely We insist urgency, since our most recent loss is The Mother Tree Doomsday countdown is three cycles Control centre is monitoring the status continuously Alternatively, report Ripper sightings to the centre if possible Do not let our planet fall into tragedy!

Hear ye, hear ye—this is a decree from Queen Marjorie Do not fear, but we are in an emergency Our water supply has evaporated in sector twenty

This is today’s decree— Informing of the assassination of Queen Majorie We declare a high-profile state of emergency

Emergency water supply has been deployed Since the situation is dour and the doomsday countdown is three hours Control centre will monitor and ration the supply For Ripper sightings, please report to Commander Heiseinbower

No reports for the doomsday countdown Ripper sightings has been put on hold, we won’t accept inquiries

WELCOME, user Keyword: OLIRISSTAR Input command: [typing]

WELCOME, new user Keyword: OLIRISSTAR Input command: ... [typing] ... > bckwrd C-3 Execute command? Y/N > Y Command executed successfully in 0.3 spd. Code from previous user: RZVK Decode? Y/N > N Command pending...

> bckwrd C-8 Command invalid, try again. > bckwrd C-7 Execute command? Y/N > Y Command executed successfully in 0.30 spd. Code from previous user: RZVK TGKX HFDP Decode? Y/N > N Command pending...

Advisor Vigenère, who will take over royal duties, will also lead the burial ceremony May we attend to celebrate our visionary Queen

WELCOME, user Keyword: OLIRISSTAR

WELCOME, user Keyword: OLIRISSTAR Input command: ... ... [typing] > bckwrd C-7 Execute command? Y/N ... ... > N Code from previous user: RZVK TGKX HFDP SVMH YHIEU Decode? Y/N > Y Command executed successfully in 0.05 spd. Output:

Input command: [typing] > frwrd C-7 Execute command? Y/N > Y Command executed successfully in 1.32 spd. Code from previous user: RZVK TGKX HFDP SVMH Decode? Y/N > N Command pending...

WARNING, WARNING

Beep, beep.

Effective immediately, we are on lockdown The royal militia are making the investigation a priority

No decree. Data empty.

Thank you for reading. Love, The Myriad Team x