Showing posts with label video games. Show all posts
Showing posts with label video games. Show all posts

Sunday, October 30, 2016

Celestial Conduit

In one of the lovingkindness meditation classes at the VA, one of the participants asked the guide what the point was of all the well-wishing, sitting around saying "may you be happy" and stuff while imagining people or whatever before us. He said it didn't do anything for anyone in real life, and he didn't know why we were doing it. I caught up with him after class and told him how I think of it.

I don't think of the exercises as the goal. I view them as just what they are called: practice. We practice so that when the object upon which we wish these kind sentiments is actually before us in some way, we are skilled at knowing how to be kind towards it, whatever it is. A noun; a person, a place, a thing. In informal practice, I often offer kindness to the creek, as a distinctive collection of things I understand as a place. If some kind of land use action were to come up for consideration locally, I would want to act to preserve it, instinctively, because I have practiced caring about it.

In the same way that I practice yoga to tone my body so that I am more skillful in my navigation of the real world — able to do more, better, more safely, and more gracefully than without this practice — I practice mindfulness and lovingkindness. I practice so that when an opportunity to practice with actual nouns arises, I am aware enough to notice the opportunity has arisen, and practiced in doing what is kindest as a consciously chosen response.

Most of what I achieve, much of what I understand as my capacity to make such rapid advances with these practices as I have, is in how I visualize things. I don't mean to suggest that others should necessarily employ my visualizations. I only intend to share some of what I tend to visualize, and what my embodied experience of practicing with those visualizations is usually like. Physical sensations are felt in reality, not just in the visualizations. With regular practice, the visualizations themselves bleed into reality.

My shoulders are really hurting today, so I've been mostly sequestered in my bedroom, only coming out to make simple things to eat every few hours. I have elected to do this instead of trying to bring in enough firewood to warm the place through the night, which would let me use the rest of the house without it being as painful as it is now. I haven't done yoga yet, and I don't know for sure that I will, although I will probably try at least a little bit before I lie down for the night. I tried to set up streaming software for my photoshop drawing sessions around noon, but I ran into some difficulty, got frustrated, and then realized that I had spent two hours trying to get a stream running, when I had intended originally to just start drawing. I decided that the best thing for me in that moment was to do my formal lovingkindness meditation practice right then, instead of waiting for the evening. Afterwards, and more or less ever since, I've been writing what started as a Facebook post, but quickly grew too large, and into a nascent blog post, describing my experience of the practice in response to the various prompts from the guide. As I was resting just now after having eaten, I realized that I had not taken an outfit picture today, and here we are. #Seattle #Washington #transgender #veteran #musician #model #actress #trans #girl #girlslikeus #transisbeautiful #thisiswhattranslookslike #selfie #nomakeup #nofilter #noshave #ootd #outfit #outfitoftheday

A photo posted by Seranine Elliot (@aggressivefrontpocket) on


At one point in the very beginning of my formal practice today (actually 10/27/2016, the day I started writing this, pictured above), the guide said "pay attention to the sensations of breathing," and that reminded me of a couple shirt ideas I had had the other day, so I leapt up and paused it and typed them into my to-do list under "shirts." Then I resumed playback and returned to the guidance. As far as I understand, this is either bad form, or perfect form, depending upon whom you ask. I consider it to be sound form; I responded to what arose, and then quickly returned to the practice.

After mindfulness of the breath was established as a base, I was guided to receive kindness from benefactors. I was directed to envision them across from me, if I had only one; in a semi-circle in front of me, if I had more; in a circle around me, if I had more still. I usually envision myself in a void, with my benefactors around me forming a sort of atomic sphere. They don't go zipping all over like electrons, or anything; they just suggest a sphere around me by their positions relative to mine.

In voidspace (my name for the space where I practice the sphere visualization), there is no setting, and there are no props. Everyone is naked, but representations of human bodies as they exist in reality are rarely visible, and when so, not for long — they are all too radiant, ultimately. My own body is visible to me the longest, in the sense of looking the way it appears in reality within the visualization. Most of the time, though, I, too, am only light.

I had some trouble using people as benefactors today, at least at the start. Instead, I enlarged my I/O cats. Linta's paws grew to a little bit larger than my head. Wobbles and Pippin were similarly resized. They formed a protective sort of circle around me, but in a natural cat way. Linta sat by me and let me rest my hand on one of her fingers when I rolled onto my side. I don't usually think of cat paws as having distinct fingers, but one of my hands barely covered her knuckle. I could feel her fur, rougher than usual, also rescaled. She wasn't looking at me, but rather off into the distance, thrumming gently with a soft purr. Wobblefoot was lying down behind me, also looking off into the distance, but some other direction. Pippin was pacing around and stepping over me. I realize this is in a void at the center of a sphere of other benefactors, but that's how it works for me. Sometimes people walk on ground that is not there.

The guidance calls for practitioners to envision tangible beams of light projecting these caring sentiments into them, from their benefactors. With the cats, I usually envision it projecting from their hearts towards mine. My general visualization for tangible kindness projection has its origins in Champions Online, and their Celestial power set. One of the powers — Celestial Conduit — is a beam of light that heals allies, harms enemies, and can chain between targets near and like the main target. It doesn't look this way in my mind, at least not anymore. But this is a pretty good representation of it. Recently, I've also used plasma balls as a sort of conceptual visualization guide, with myself being the center. Sometimes I use fire, but Champions Online-style video-game fire — just the appearance of it, spirit fire, not something that actually burns my body. I don't generally have a sense of choosing, but rather a sense that one or the other just arises as the best fit with whatever benefactors I'm working with.

When receiving kindness, I feel as though my heart is being unpacked and unraveled. Expanded, it resembles a sort of steel flower about 30cm across at the widest point of bloom, but built only from the veins of petals. A delicate four-dimensional filigree. It is a mildly painful sensation of openness and expansion, like a really good, effective stretch. I think of this as kindling for my own sense of kindness, although there's no sense of it catching fire. It's more that the tangible beams of light begin to catch on the framework like sticky dew, and before long it is completely covered and alight.

Not long after that, it becomes so bright that I can feel it on my skin. I cry the entire time. I cry a little bit for the pain — it feels like the breath is being squeezed out of me — but mostly in mourning. On some level, I know I was always supposed to receive kindness from others. I have a sense that I was designed to, and understand why people believe in a personified god. There's a sense of relief that usually follows the mourning, and that's when I really begin receiving the kindness more completely. I usually have a sense of the beams disintegrating my body as representative of resistance to my true form. The flower, my heart, goes with it.


Sometimes my visualization shifts erratically to a new scene representing the same ideas. Today, I still retained the heart flower, but was briefly seated, bound to a ceremonial chair, on the dais in a chapel. Everyone was dressed normally. So, the cats were still naked. I, and everyone else, was in simple Puritanical garb reminiscent of what little I remember of wood block prints depicting the Salem Witch Trials. The meditation guide stood to my right, reading the guidance, and my benefactors, sitting out in the pews, chanted along with him, to me:

May you be safe; protected from inner and outer harm.
May you be healthy; as strong as you can be.
May you be happy; peaceful and content.
May your life unfold with gentle ease.

I sobbed and strained against the bonds. I whimpered "no" over and over. Not because I wanted them to stop, but because it was so overwhelming that I was instinctively afraid of it. Afraid it would obliterate me. And it does, but just my body. The scene ends and I am still engulfed in tangible beams of kindness in voidspace. I have visualized a visualization within my visualization.

(The cats don't chant, but they still send the same distinct sentiments. I often see them blinking slowly and head-butting me as a kind of punctuation. When they are huge, it's wonderful.)

I notice that a strong sense of not deserving this kindness arises every time I practice. I don't feel I am intentionally resisting it, but more that I'd been conditioned from birth to believe I should not have it. This practice heals the damage from that kind of conditioning. It feels like therapeutic massage; painful, but in a way that is clearly, tangibly healing. It feels kind of like being slow to catch fire. It's not that I cannot be an effective channel for kindness as I am now, without practice. It's that I need to practice opening that channel both ways to really be maximally effective at practicing kindness. Understanding how it feels to really receive kindness is key to being really empathic about where and how to offer some.

Eventually, I rolled to my back again as I felt relentlessly pressed upon by this tangible sense of kindness. It rushed over me like a suddenly flooding riverbed rushes over a boulder it cannot move. My position shifted a bit, but I stayed where I was, and I felt this visceral flow rushing past me, pushing me down. But it was light. It felt heavy and weightless at once. Trapped beneath it, I could not rise up, but I could breathe perfectly freely.

When the guidance called to return focus to the breath, and reflect upon the experience of receiving kindness from benefactors, the light faded quickly, along with them. My steel flower heart structure was gone, transformed into a ball of light. This is typical of my practice lately; I can't remember the last time the ball wasn't part of it.

After manifesting, ball initially stays over me or in front of me, near the center of where the flower had been — about six inches out from my skin, in a line straight out from my heart. When she is very dim, she is still too bright to look at at her center for long, but not especially radiant. She only naturally throws light (that is, kindness) a short distance. When I engage her in later guidance, she intensifies such that she appears vastly larger than she actually is. The tangible core of her being is about three quarters of an inch across, and perfectly spherical. She is bright enough at minimum that she usually appears no smaller than a tennis ball. I don't have a name for her, really. I don't always even know where she is.

She often stays with me in reality for days after formal practice. I can move her where I like, or let her go where she wants (I really don't always know where she is). I visualize working with her in reality as an overlay, like Pokémon Go's overlay. I understand she's not real in the sense that nobody in our shared reality can see her. But I understand that she is real in the sense that reality, to each of us, is whatever we experience, and as I can picture her there (wherever "there" is) so vividly that I have a tangible, felt sense of her, she is real enough.

After she is formed, I lie there and have mostly a sense of feeling spent. Usually my body, such as it is, is shedding vapor. Sometimes I am still engulfed in remnants of spirit fire, or little patches sputter on and around me and eventually fade. I feel warm. I am always, now, by this point, mostly or entirely light. If not entirely, actively becoming, and in the last moments before being so.

I was called next to give kindness to a benefactor. Early in my practice, this part was difficult, because we are instructed to choose only one. I would become anxious about choosing. Now, I have more of a sense of letting them choose themselves. When the call comes, it's as if they know the drill. All vanished but one as soon as the guide started this portion of the meditation. Today, Savannah remained. I have not seen her in a while, but I projected kindness to my representation of her in the same general manner as my benefactors did to me — with tangible beams of light.

My benefactors always all project from their hearts, for whatever reason, but I tend to project from my heart, both hands, and my head. Sometimes, I just move the ball into other people, instead, and coax her into glowing more brightly, like blowing gently on the embers of a fire. Sometimes I use the ball as an amplifier, and direct a beam or beams into her, and then aim the resulting single, much larger beam at my target. When I do this, the ball explodes with radiance, again becoming so bright that I can feel it on my skin, and cannot avoid seeing her; even with my eyes closed; even when the beam is not directed at myself.


I did not do this for Savannah today.  Most of my visualizations with her were partial scenes, and my kindness projection was more aimless than usual. I think, considering it now, that that was probably a reflection of my not knowing where she is, exactly, in reality. My kindness projection towards her was more like a sort of radiant collection of coalesced but slow-moving vaporous tendrils, drifting her way, and eventually enveloping her completely. Sometimes a bit of plasma-ball-like projection followed that connection, once it had been made; lightning crawling along a cloud.

When called to reflect upon the process, I noticed that I felt a sense of wistful sadness — I do miss her — but also a greater sense of happiness. No matter where she is, she got there because of her own choices, and all she ever wanted from me was the freedom to make them. She was a stray when we found her, and always seemed to feel a bit suffocated being kept completely indoors. No matter where she is, I always have her with me. While I was able to see her around me, in reality, she was clearly so much happier being able to roam around outside than being trapped inside. She spent a lot of time out in the woods behind the house, down towards the creek. When I begin to worry about her, and speculate on what could be keeping her from coming home, my mindfulness practice prompts me to ask myself what I can observe, what I know for certain is really happening, right now. In regards to Savannah, that is only that I do not know where she is, and that I know she is the most capable wilderness survivor of all my cats.

Through this kind of constant practice, I've come to think of myself as more of a guide for my cats, than their owner. A guide to help them safely navigate the human inventions of reality. I give them better, more constant care. I have all but ceased lashing out at them in any way, even verbally. My bonds with each of them are stronger than ever. I understand that being kind to them means doing what I can to help them become their best and truest selves. For most of them, that means being completely indoor cats, with no interest in even stepping outside. But three of them regularly follow me down to the creek behind the house, because they choose to. They have that choice because I was present enough to realize that they wanted to make it, and aware enough to realize that I had no actual objective justification for denying it; other cats have lived completely outdoors here for years without incident. I realized it was kindest to support them in making their own choices; in being what they were.

Sounds silly, doesn't it? But I have no better way to explain these things, right now, and all of these cats are getting so much better all around as my practice deepens and expands. The ones that come outside with me are becoming much less fearful. They relax more fully. They are in better health. They have more trust in me as a roaming safe point. They bring their sense of being relaxed back into the home with them, and it helps keep all the other cats even calmer. They are all benefiting from my work by being around me as I practice. My goal is to practice as constantly as I can.

The two hardest practices for me both involve receiving kindness. The first is from benefactors — basically very vividly imagining myself receiving kindness from other people. The other is from myself.

The guide suggests visualizing ourselves earlier in life, when we were perhaps happier. The first time I was given that guidance, I flew straight back in time until I felt like I'd hit that moment, and I found myself looking at my newborn self; I burst into tears. I took my own tiny hand and let it wrap a bit around my index finger, rubbing the top gently with my thumb. I sobbed and quietly said, "I'm so sorry, baby girl," over and over. It happens this way most often, still. When it does, my heart softens a little bit more towards my past self and all she did and all she endured, all she permitted to be done to her, before I realized who and what I was.

Today, it was a little easier than most days. I recently looked at a picture of myself from mid-December or so, 2006. That's probably why this version of myself came to mind. I know how hardened I was by then. But I entered the picture at that moment in my practice, as I am today. I walked behind the Jason Construct and my children, knelt behind it, draped my arms gently around its shoulders, and hugged my tiny, deeply buried self, hidden somewhere within that shell. I cried.


Eventually I floated up and back away from her, as if I was being hoisted gently by my shoulder blades, curling into a ball, and noticed the ball swelling with light before me, moving slowly away from me, and over the Construct and my children. I was probably about 30 feet up in the air and maybe 5 or 6 feet behind it, in a space I've never been to, with a line of sight that is not possible. I unfurled, my legs dangling as before, my arms near my sides, but with my hands farther apart than before, and projected my kindness towards the ball. After growing for a few moments, the ball fired an amplified beam straight down onto the Construct, eating away at it away like a sandstorm.

When I work with self, especially given the guide's suggestions on making use of the past self, I often see a sort of pillar of spirit fire kindness connecting a massive column of iterations of myself through time. It originates from the point I am specifically working with, but nearly always, nowadays, ends with some more expansive overflow of kindness as forgiveness for my past self, and everyone around her. I usually fly past a large segment of it very quickly as the guide calls for us to return to our breath, but I take it in fully, impossibly.

In examining my responses to that part of my practice, I noticed mostly that I felt pleased and skillful. Today was by far the most pleasant practice I've ever had with giving and receiving kindness to and from myself to date. Usually it is more purely sad, mournful of decades of suffering for simple ignorance, with a sense of forgiveness, rather than kindness more broadly.

I was next called upon to offer kindness to a Dear Friend. Usually, #myfavoritemistake appears for this. Today, Anna appeared instead. I think probably because she was the first person I invited who marked herself as Going to a party in my home that I was not hosting, and which was primarily attended by people who had never met me, who had only met me Before, and who knew me Before, but no longer like me. I felt very anxious about likely being here all night without any friendly and familiar faces, aside from the boys (my landlord and my roommate, the other hosts). Anna said she was going to bring mac 'n' cheese. It turned out she didn't have enough gas in the tank (literally) to be able to get here after all, but I still appreciated her genuine intent. I imagine her appearing was a reflection of my natural desire to show kindness to her, after receiving some from her in that way.


Though the guidance often suggests we wrap our arms around our beneficiaries, I usually opt for energy projection. It somehow feels more powerful. Perhaps I feel it is irresistible in a way that hugs are not. Not in the sense of violating someone by forcing beams of kindness upon them that they do not want, but more in the sense of obliterating all barriers to kindness that are between us, as well as then also delivering that kindness. Hugging feels more intimate, and the representation of the Dear Friend usually gets held for the duration, unless I know they are really hurting.

So, I held her in a simple sisterly embrace, sort of sitting beside her with one arm around her shoulders, and the other on her hands, which rested together in her lap. I said to her the same kinds of phrases that had been chanted at me in the church scene. I took care with each word, giving them time to be absorbed completely. I have the sense that Anna is simple in the admirable sense of being uncomplicated. She has a wonderful balance about her. I imagine that translates to relative ease receiving kindness, compared to most people I've met, which probably explains why I felt a sense of joy growing in the representation I held, revealed with light, and a slowly growing smile on her face.

However, when working with these representations, I remain aware that they are just that — representations, and not the actual people themselves. Being aware of that has helped me to understand other things in more healing ways. For example, I realized that the ex, my #FKAgirlfriend, that I'm still in love with essentially no longer exists. When I work with her — when I think of her at all — I understand that I'm actually thinking of a representation of her, a version of her that is fixed in time around the moments we last interacted. Consciously recognizing that the version of her I remain attached to no longer exists makes it easier for me to let her go. I literally cannot go back to her. I could meet Kim again, as she is now, as I am now, and form some kind of attachment to her. But the Kim I was with becomes more imaginary every day. During my formal practice, as long as I remain mindful of the fact that I'm working with my versions of these people, and not these actual people, the details never get too complicated, and never matter too much. The goal of practicing being kind to any idea of that person has been achieved, and can very easily be called upon later, in reality.


With regular formal practice, this kind of work causes me more naturally to think of ways to be kind to others. I have limited resources, now, so usually this means reaching out to them to ask how they are doing, and just giving them some of my time as an attentive listener. I manifest the ball inside of their hearts, and pay attention. This kind of work has also led me to naturally be more considerate of others. I've simply spent more time literally thinking about wanting for the safety, health, happiness, and ease of others.

When called to reflect upon the experience, today, I felt more my embodied self, and less the transcendent being of pure kindness. More the human than the god in the human. Anna feels like a sister to me. I felt warm again, after this, but in a deeper and closer way, a more completely intimate way. Radiating more from the rest of my body than from the ball. (I understand the ball as part of my body.)

After Dear Friend, I was called to give kindness to a Neutral Person. I sometimes struggle to find a Neutral Person, and today was one of those times. I spent probably about half of the guidance flitting from one candidate to the next, like Eric Draven digging through a pile of possible clues until he finds the right one, purely by his sudden awareness that it is the right one. I ended up with the lady who processed my passport application. I noticed a flash of annoyance arise in myself, because she was part of a process that ultimately frustrated me. But because our relationship is so clear and simple, giving kindness was easy. I barely noticed the sense of annoyance as it passed through me and I experienced it; it was quickly outshone by what I was focused on doing. I directed my kindness towards her through the ball, but more playfully, without anything like the intensity I had directed towards myself earlier. I gesture a lot in reality while I'm doing this, probably more than I'm aware of, because I'm not usually too aware of much that isn't directly a part of the visualization in each moment. I was stretching with a vaguely cat-like aesthetic on my bed in reality, while in the visualization flying around above her as she worked at her desk, batting the ball near her, amplifying kindness through it towards her. I felt no particular emotional response to her, after the annoyance.

We are often instructed to visualize our awareness of our emotional landscape as a vast clear blue sky, with emotions and thoughts as simple clouds, drifting through it. Incorporeal, inconstant. My version has evolved to be more liquid, as if I'm in some kind of infinite lava lamp tesseract space. Thoughts and emotions pass around and sometimes through me, there. I can transform them into the neutral liquid that is the equivalent of the blue sky — the unchanging background — but not without passing through them. Or, more correctly, letting them pass through me.

They have different temperatures and textures and viscosities. Some are nearly the same as the background, detectable only by a change in temperature, like swimming past a slightly warm jet of water in a swimming pool. The sense of annoyance with the passport processor lady was like that.

Others are thick and oily and suffocating. The first time I ran into one of those I had an enormous panic attack because it seemed endless, and I cried so hard I felt like I couldn't breathe. I notice even now that I can become easily stuck in this kind; I can be dragged along, caught in the pain of that moment and that feeling, moving with it, instead of letting it pass through me and be transformed. I've become better at weathering those without having a panic attack. They're still very painful, but I've come to that pain with gentle curiosity, and with that have come to understand that I need to sit through it (whatever "it" is) to recover from it. I need to let it pass to let it go, and if it doesn't pass through me, it cannot pass.

Some emotions are larger and take longer to transform than others. I'm still breaking up with Kim, for example. I have cried over something about her basically at least once a day since we broke up. But I cry less frequently, now, for shorter durations, with less ripple effect. These scattered bits and blobs of liquid emotions are smaller in size, thinner in viscosity, and I am better at permitting them to go through me. I am better at it because I have been practicing with them, instead of trying to ignore them.

In the same way that phantom limb pain can be eased by convincing the mind that the missing limb no longer needs to be told to clench as hard as possible, mindfully processing my emotions as they arise is using visualization to tell that pained and spasmed part of my mind, the one that feels like it's my heart, that it no longer needs to cling so fiercely to whatever it is I am at that moment most aware of it clinging to. I can offer kindness to myself in the wake of finally experiencing the emotions of whatever difficult past experience. I can offer kindness, and forgiveness, to anyone involved in that experience. I can let go of old grudges by seeing the essential humanity of everyone I ever felt had wronged me. I can prevent new grudges from forming by proactively doing the same thing; by practicing kindness.

I can mourn my losses — feel the weight of them, and cry for the sadness of it all — and then move on. I can do it every time any aspect of any of those experiences arises. It's not like it's one-and-done: "I thought of a sad thing about Kim today, but I thought it mindfully, and now I'm 100% over her!" It's a process of mindfully experiencing those emotions when they arise, as they arise. Instead of just crying and being inarticulately sad suddenly about something about her, I recognize why: "this is the café she used to take me to for breakfast. I didn't know the stop I needed on this bus route would let me off right in front of it. This is a shock to me. I miss her and that hurts."

It's not that this doesn't hurt. It's that it hurts like therapy.

When called upon to examine today's Neutral Person practice, I noticed a sense of pleasure with myself for making the most of the guidance, and not giving up or letting my attention drift away when I did not find a Neutral Person immediately. Early in my practice, this was a difficulty for me.

Next, I was called to give kindness to a Difficult Person. Today, that was Kim, #FKAgirlfriend. Like the other categories, now that I've been doing this for awhile, the selection process is often so quick that it feels more like recipients have volunteered themselves in some way. So, the guide said to bring a difficult person to mind, and there she was. I began sobbing and shaking with pain, wracked by long, slow convulsions that made my whole body look like the arm that's about to lose an arm-wrestling match. A massive oily blob had engulfed me. "Baby, please," I whimpered over and over as I sobbed. At the time, I didn't even consciously know what I was asking her for. I suppose when I do that I am asking her not to leave me. Even now. Please, stop leaving me. Yeah. I'm crying as I type this. So I guess that's it.

A photo posted by Seranine Elliot (@aggressivefrontpocket) on

Before long, I noticed that I was failing more spectacularly at the Difficult Person part of lovingkindess meditation practice than I ever had. I observed myself crying, making this exercise in giving kindness to her all about me, and my pain. I smiled sadly at myself in my mind, as I cried. The flow of my tears began to stop as I heard my own call. I gently reminded myself that this practice was for Kim, not me. The thick oil vanished, partially transformed; the rest could wait.

What happened next felt reminiscent of how possession is always shown in movies. My body language shifted suddenly and dramatically. I went from completely and painfully clenched and flexed to completely relaxed. I uncoiled from my fetal position on my side, coming to rest on my back instead. My arms were at my sides, relaxed but straight, each hand about six inches from my side, palms up. My legs were similarly straight, but relaxed, my toes pointed more down than forward, about hip-distance apart. My face relaxed and went from contorted and tortured and sobbing to half-lidded and serene.

Then I felt my chest lift on its own, suspending me in my visualization (I have no idea what it looked like in my body at that moment, but I felt as if I was rising there, too, bodily). The ball rose above me, faster, until she was about six feet from my chest, while I was about 12 feet above the ground, and my representation of Kim. I felt a sense of intense pressure of expansion in my chest, like when I receive kindness. I tend to think of this as my most potent and pure kindness; when I have the same bodily sensations while I am giving it as I feel when I am receiving it.

The ball swung me upwards, above her, so that she was between Kim and me. I felt myself glowing with lovingkindness, most brightly in the palms of my hands, in my heart, and in my brain. When the beams erupted from them and struck the ball, she amplified and projected them towards Kim. I was instantly blinded in my visualization by the beam, and instead saw dream-like visions of Kim enjoying the things I now wished for her: safety, health, happiness, ease, sometimes in the company of a vague other whose presence warmed her as mine never had. I smiled with the faintest hint of intangible sadness behind it, like a martini glass that's had vermouth swirled in it, and then poured out.

The guide called for a return to breath awareness, and the beams all stopped, the ball fading back down to her earlier brightness, and apparent size. I drifted lazily upwards, looking down at Kim being perfectly ordinary and content, bringing in her mail or something, walking into her door, before I turned away and left the space. When called upon to reflect, I noticed that this was the first time during which I practiced with Kim as my Difficult Person where, by the end, or even more like halfway through, I felt deeply and utterly at peace. I wanted for her without wanting for myself, without regard to myself at all except for where I was relative to her and the ball. I smiled. I felt very tired, but also very relaxed.

We moved from there to Groups. In the guidance I have, the guide uses Men and Women as the Groups, calling us to direct kindness to each in aggregate. He also suggests we use any Groups that work for us. As I followed the guidance today, I noticed again that the Groups did not work as well for me as some of those used in the class, and that I experienced discomfort at the thought of leaving out all the people those two boxes necessarily exclude. In the class, many Groups were presented as This and Not-This. For example, we were called to offer kindness to All Veterans, and All Non-Veterans. I modified the guidance in line to call for kindness to be directed towards All Women, and All Non-Women, instead.

My visualization for this saw me leave the planet by flying straight out from the surface, and scaling myself up until it was roughly the size of a basketball, relative to my proportions. I manifested the ball inside it, and lit up each Group as the guide called for one and then the other to receive each sentiment.

Once, earlier in my practice with All Beings (the last target for kindness projection), I tried bringing the planet into my chest, into my heart. I did this after scaling myself up such that it was roughly the size of a cherry, but when I drew it into me, it was instantly painful in a dark and cold way, and I ejected it spontaneously and immediately. That kind of visualization was interesting to me. I don't think I'll ever forget it. I felt visceral pain in my chest as I imagined it, and my reaction was without conscious thought. In reality, I physically scrambled backwards, to get away from it. I had to get it out of me. I still don't know what that means.

The point of Groups practice, moreso than the other practices, is to notice our own reactions to various groups. For example, I can answer truly for myself that while I fear and am wary around men, I do not hate them. It is as easy for me to offer kindness to Men as a Group as it is for me to offer kindness to Women as a Group. Because of that, Groups practice has come to feel like a lite version of All Beings, the last category, to me. Now that I've come up with the trick of putting the ball into the planet, rather than the planet into me, Groups is usually the simplest and most relaxing of all of categories. It's like turning on a Christmas tree, and then just watching it alternate lights. Half this color. Then half that. Be safe; half this. Be safe; half that.

When I was called to examine myself and my experience after Groups today, I noticed I felt happy and eager to move on to All Beings. I felt like I'd warmed up and was ready to do my most important work to the best of my ability. I felt the way I imagine Luke Skywalker might have felt if he'd understood how to raise his ship out of the swamp. In a context where power is based on will and imagination, real size, real weight, has no meaning.

Early in my practice, my visualizations were much more bound by the rules of reality. Scaling the cats up in my mind, making them giants, was not something I planned. I'd never even done it before today. Most of my scaling, my manipulations of size and distance in these visualizations, now, happens without much conscious thought at all, if any. In Champions Online terms, I feel like I'm leveling up and unlocking new powers. My practice advances and deepens, and the ways in which I can deliver kindness to people, including myself, grow in number. The first time I tried arranging my overflowing group of benefactors around me in a sphere, I was always oriented to them exactly as I was in reality. I could rotate the sphere and put people onto my plane, and then move them towards or away from me, but all motion towards or away from me happened on the same plane I was sitting or lying on. If I was lying flat on my back in practice in reality, they walked up to me lying on my back in the visualization. In voidspace, the bed was gone, and I was simply suspended at the same height. But I was, otherwise, exactly as I was in reality, only unclothed.

Now, my practice finds me much more often experiencing the sensations of my visualizations to the relative exclusion of most other sensations. I have lost my balance and gotten dizzy. I have floated and fluttered through the air like a dancing leaf. I have flitted between realms, moving in and out of them as the guide prompts me to direct my attention elsewhere. Part of what helped me stop punishing myself for really deeply enjoying the media I have always enjoyed, and now enjoy more fully, is that I realized I have been giving my voracious imagination more tools to play with. I spent most of my life hiding in imaginary worlds, often inventing my own because I would become bored of the ones others had made. Now I am making use of my explorations of those realities to bring real kindness into this one.

In the final segment of practice, the guide directs practitioners to focus on All Beings as targets for projection of tangible beams of kindness as light. From there, he steps through gradually-expanding contexts: first, where I live. Then, my whole city or town. Then my whole state, country, hemisphere planet. His guidance suggests we see ourselves as radiating kindness, becoming brighter and brighter with it, until we are shining over the entire planet. The first few times, I tried to follow along, but felt like a champion sled dog tied to the back of a pack of elderly pugs. I'd already started scaling things up and down, and just flying off the planet and making myself so large that it was comparatively small just made more sense to me as visualization. Before long, I started to consistently ignore most of the guidance, and just fly through the universe, radiating and directing kindness to All Beings.

In formal practice, especially, I understand myself as existing simultaneously in both places: here, and the visualization. They overlap a bit. I see myself where I am practicing, in reality, kindness pouring out of me as light, as if I am a leak into this reality from the other. I see myself in the visualization, holding planets suspended over my palm, making the ball bigger and bigger until it has engulfed them all. I expand and move back until the ball is about the size of a volleyball relative to me, and the Milky Way fits inside it. Sometimes I fly into the ball, and scale up and down all over, visiting everything, sending kindness to all. Curiously, this sort of visualization feels empty and ersatz if I try to just jump into it cold. When I build to it through the course of the rest of the guidance, it's incredibly vivid and powerful.

In informal practice, I often manifest the ball and send her into other people and beings, and then call upon her to brighten with kindness as I offer them the same sentiments as before. Sometimes in bits and pieces. Sometimes all of them. Sometimes others I make up on the spot. Sometimes without words at all. And then I move her to another location. I do this constantly while I am walking around in public, and to a lesser extent when I am driving. It is what causes me to appear, to most outside views (I imagine), as if I instinctively do kind things, when I am skillfully practicing. When I find a wallet or phone on the bus, I set about doing what I can to return it to its owner. When I see someone drop something, I abandon my own pursuits and rush to draw their attention to it. When I see an animal in danger or injured, I do what I can to help them, and keep them safe. When I kill one with my car, I feel like I've been stabbed in the heart. When I see a roadkill body on or along the road, I feel sadness wash over me. I practice experiencing these emotions mindfully. I listen to them as they pass, and let them go when they have gone.

As the practice came to a close, I was called upon to return to myself, and my breath. The guide encourages practitioners to take a moment to acknowledge the powerful work we have done to open and heal our hearts. He encourages practitioners to dedicate the the powerful merit of this practice to someone or some entity, to offer wishes of care and kindness and goodwill to whomever we choose. Sometimes I return to Difficult Person. Today, I continued with All Beings.

My avatar of myself in Champions Online can set a circle at her feet, a magical blessing of the space immediately around her. In the game, it makes it so she effectively cannot die while inside the circle. If she does, she is resurrected immediately, and cannot summon the circle again for a limited time. When the circle has been summoned, she can also instantly resummon it (instead of channeling the casting) to her location if she does so before too long, healing herself and all allies when it resummons.

In trying to think of how to relate that game metaphor to me in my actual life, as part of the concept of the character within the game as basically just me, I came to understand it as consciously coming into the moment, and being present and mindful of reality. In the game, I cast a literal glowing circle at my feet. In reality, I ask myself what breathing feels like right now. What is happening right now. I engage my core, check in with my posture. But now, after having worked for so long with such vivid and intense visualizations, I sometimes also bring the circle into my view of reality.

It's not that I actually believe this literal glowing circle is there. It's just another imaginary overlay, a little visual indicator of something only I'm fully aware of. But the metaphors of how it operates are the same. When I am truly mindful and completely present, I have no fear of death. I understand that I cannot be destroyed, because I have lived, and I have existed in the world. I have changed the world everywhere I have been, and my actions will live on forever. That is why it is important that they be as kind as possible. That is immortality. That is eternal joy and eternal suffering. We make some of both in every moment. It's up to each of us to determine the ratio.

In the game, when I resummon the circle, even if it's right where I already am, every ally around me is healed; everyone benefits. In reality, it is only when I am fully present and aware, as much as I can be, with as much as I have practiced, that I can truly do what is kindest. Without being fully present to what is, without being fully aware, I cannot be sure that what I am doing is truly kindest. I may only think I am healing people, instead of actually bringing them relief. I can be tricked into believing I have been or will be hurt by things that cannot actually hurt me.

My understanding of harmful ignorance is a corollary to this. Religious zealots who preach anti-LGBT hate are not fully present to what we actually are. Instead, they incite violence against their idea of us. They do this because their idea of us, which they've invented, is that we are violent and deceitful and promiscuous, all of us, purely because of who we are. Then, actual people like me suffer for that. They believe they are doing what is kindest, that they are saving people. They could not do those things if they were fully present with me as I am.

The more regularly I practice, the more connected I feel to everyone and everything. I walk as the center of a living web of plasma lightning, white bolts and tendrils of kindness, connecting me to literally everything. I can scale in and out of all sorts of granularity — I can see the connection I have to every molecule of the air around me, every individual sub-atomic component of each atom. That view isn't terribly useful, it's just solid white space. Usually it's more a sense that those connections are still there, just not visible, and I have visible large connections, like arteries, to discrete nouns around me. In my room, it may be my desk, my cats, my bed, the heater.

The more regularly I practice, the more constantly the ball is with me; the more constantly she wakes me up. I am able to send her into others as I interact with them, if I am aware enough to realize we are interacting in the first place. I did this earlier with #lumberjackson. He peered in to ask me a few questions, but I was in the middle of typing a comment on a friend's Facebook post. I interacted with him mindlessly, carelessly, not really listening, mostly thinking about my interrupted task. After a moment or two, my mindfulness practice kicked in, and I observed and made note of what was happening right then. My friend was talking to me, right there in front of me; I was trying to type something that was not even a little bit time-sensitive. I noticed the ball, and sent her into his chest, turned to face him, and gave him my complete attention until he walked away.


The metaphors for these visualizations are many and easy to find or invent. The ball is clearly my heart in some sense. When I send her into others, I am expressing a felt sense of my being part of them, and them being part of me. Of it being important that I hear them, that I help them if I can, only because they are there with me, in that moment. Yet my heart also remains where it is. I exist in two places at once.

When I am skillful and active in my practice, doing the dishes for everyone else in the house, cooking for others, keeping the fire going, scooping the cat box, none of these things feel like chores. They are gifts. They are countless opportunities for me to express gratitude to my friends, my family, who have seen me through so much. Letting other people merge in front of me is not being cut off. It's looking out for someone else who is right where I am, right at that moment. I can make their lives unfold with a little more ease. The decision is easy. I have practiced making it.

Sunday, March 27, 2016

Champions Online

This is going to be literally the nerdiest blog post you've ever seen me write. And I say that knowing that I've already published one about Kindred and League of Legends, and another about World of Warcraft. Sort of. Even then, both of those tied into LGBT identity politics, and this is no different. But it's much more personal.

This is another one of those instances where I look back on a behavior of mine from Before (in this case, storytelling and acting), and re-analyze it in the new light of my most authentic self. It's not that I think any of the specifics of these stories are universally interesting (though I do like them), but more that it occurs to me that if I was doing this, then it's not unreasonable to suggest that perhaps other trans women have (or had) been doing this, too. That somewhere along the way, they figured themselves out, and looked back, like I did, and asked themselves, "how could I have not known?"

More importantly, because of that, I want to share this kind of content so that other trans women who are, today, the way I was Before, can have their awareness sparked. Maybe this can be to them what shaving my legs was to me — that last "a-HA" of realization, that final comprehension of the truth. So, read on, and see if any of this resonates with you. If you get bored and quit along the way, I don't mind. But I still have to share this. Because if I'd found a blog post like this five years ago, I could have probably spared myself a lot of misery.

I started playing Champions Online years ago. Before that, I played City of Heroes and City of Villains. I've basically been playing some form of superhero MMO off and on for about 15 years. Before that, when I was a little girl whom everyone thought was a little boy, I played the Marvel Super Heroes Role-Playing Game with my friends. I don't remember exactly when I switched to writing predominantly female characters, but I do know that it was fairly early on in my life that I realized I felt more natural and at ease playing them. Before that, I pretended I was Superman, or Spider-man, or whatever other superhero I could pretend to be without being shamed.

But the most recent iteration was Champions Online, and, as was always the case in my MMORPG gaming, even back to Ultima Online, nearly every character I invented and role-played as was a girl. Especially when I was able to play with strangers — people who'd never seen my face or heard my voice. You can see a little bit of gameplay footage from Champions Online in my transperson video.


With Lilly Wachowski being outed the other day, it occurred to me that The Matrix, and everything it spawned, could no longer be interpreted as a story that might have some transgender metaphors, being the brainchild of a trans woman and her cisgender male brother. It had to be interpreted as a story that was transgender metaphors, because it was the product of two at-the-time closeted trans women who were storytellers.

The Matrix was a product of two siblings who knew a truth about reality — that they were women — and also knew that they could never tell that truth directly without facing massive negative repercussions. It was the product of two trans women who saw a world around them that was a vast and empty and lifeless wasteland, that was filled with zombies who were stuck in a fantasy, because people valued The System over each other, and feared anything outside of their constructed cultural understanding. It was the product of two storytellers, and storytellers ultimately tell us stories only about themselves.

As an aside, this is an extremely important point to remember, and it's why representation in media matters so much. The reason the creation of The Silence of the Lambs was a tragedy is because it is cisgender horror fantasy about transgender people. When we have a TV show or movie with a white cisgender straight guy for the villain, nobody gives a shit. It has no impact on cis/het straight white males in broader culture, because for every villain like that, there are 20 heroes, and thousands of ordinary "good people" characters who all look basically the same. Even when they try to tell the story of a cis/het straight white male as the bad guy, they make him the sympathetic hero of the entire thing.

Stories are reflections of their authors.

I remembered a particularly brutal sequence from one of the shorts in The Animatrix. I wrote a post about it that I shared on my Public Figure Facebook Page, and my tumblr as well. It exploded, becoming by far my single most popular original post on the site, with over 2,000 notes in its first couple days. From that one observation, I started feeling the pressure of this stream of realizations washing over me, as one metaphor after another suggested itself for nearly every aspect of the entire franchise.

While I'm sure it is not a new idea that these movies must be, at least to some extent, metaphors for trans existence, I've been deliberately avoiding looking into other people's theories about the property until I've developed my own. I'd hate to squash any of my own interpretations before they were ever formed. I've been taking notes and writing about it, and will share my thoughts soon. (Update: I shared them.)

But first, back to Champions Online. Because while I was thinking about The Matrix being the product of trans women who were storytellers, it occurred to me that some of the stories I'd written about characters I'd created, back in my superhero MMO, were also most likely laden with trans metaphors. That, like my 2002 song under a bad star, which predated my realizing I was a girl by about 12 years, I had probably known all along, on some level, and just not been consciously aware. I was curious to see what sorts of hints I'd tried dropping to myself, so I went back through them to see what I'd find.

They are presented in the order they were written, although some are adaptations of older favorite original characters from City of Heroes. I've already taken my name from these stories. Now it's time to see what that name came from. It's time to see what I was trying to say with these stories, and these characters; to myself, and to anyone who would read them. 

Sugarcoat


With a reportedly unlimited and uncontrolled innate capacity to reduce the temperature in her immediate area, this young girl was delivered to the laboratory of Dr. Elisabeth Hanson, the famed geneticist, by a MARS team requisitioned for that purpose. It quickly became apparent that not only was the girl unaffected by her own abilities, but that Dr. Hanson would not have time to help her in any way unless they were subdued.

A few quick contacts resulted in the rapid prototyping of a form-fitted suit that counteracts much of its wearer's powers in scale, though not in type. After donning it, though still refusing to give her real name, she agreed to assist Dr. Hanson in whatever way she could while the Doctor, in turn, studied her closely in hopes of helping her learn to control her powers on her own. It wasn't long before Dr. Hanson took to calling the nameless girl "Sugarcoat," in reference to both her saccharin wit, and the faint dusting of frost perpetually gracing her exposed features.

Sugarcoat was originally a tanky kind of character, back in CoH. I remember the idea around her then being that she was cold and distant and unreachable, but that she still wanted to help; she just also refused to fight. Playing to the game's "taunt" mechanics, her story concept had been that she basically made fun of enemies until they tried to kill her, so that her team could take them out. She did almost no damage, but was also almost impossible to actually kill. And yet, she could never really get close to anyone, either.

That older metaphor is plainer, to me, for my unrealized transness of Before. This newer one puts more emphasis on the dampening suit, also a fixture of the original concept. But it builds beyond that, to a girl who won't give her name. A girl who refuses to divulge it, because she knows that names have power. A girl whose existence is perceived as a natural threat to those around her, though she's just being who she is, and has no desire to harm anyone. A girl whose body must be put in check, because she might do some damage to society, just by being free and living in it. This is the story of a society that would rather change an uncommon kind of girl to make her what society wants, than even think about how to change society to make it work better for every kind of girl.

Today, I'd call this internalized transphobia. It was The Jason Construct pointing out that, if I were to acknowledge who I was and honor myself, I'd have to go to doctors in order to be made into something suitable to be around the general public. That my body as it was, and as it largely still is, to be honest, would be seen as something grotesque, and terrifying. This was me trying to talk myself out of being myself. 

Seranine 


12-year-old Sarah Logan has no idea that she died nearly 20 years ago. While walking home from school on a day like any other, she was struck by a drunk driver, whisked away to a hospital by ambulance, and pronounced brain dead upon arrival. Agents of a small biotech firm who happened to be on site managed to convince the hospital director to sell her body to them for research. The hospital director reluctantly covered up the loss with the girl's parents and quietly resigned immediately thereafter.

Once in the biotech company's lab, detailed scans of her physical attributes were meticulously recorded before her brain was removed. Then, as part of a revolutionary procedure that was outlawed in the United States almost as soon as it had been announced, Sarah's consciousness was digitised and preserved on disk. The legislation outlawing the practise cited ethics concerns, as any practical application of the technology practically demanded the brain of a child in order to ensure adjustment and acceptance of a new reality. Earlier experiments using adult brains were uniform failures, and always for the same reason -- they missed what they knew as "life." Once the law was enacted, the data that was all that was left of Sarah Logan vanished along with the company that had preserved her.

Safely disguised under new ownership, former employees of the defunct biotech firm secretly revived the project, and her brain image formed the basis of a powerful new AI. Publically, the company that now owned her brain image declared the "code" to be proprietary and has thus far been able to keep the truth hidden.

The AI was placed into a unique prototype android body, a multipurpose heavy-duty chassis capable of withstanding extreme conditions ranging from severe heat or cold to direct fire from small arms. Ninth in the Sentient Extensible Reconfigurable Android series, this model is currently on loan to UNTIL.

Oooooookay, this one is pretty straightforward, too. A girl whose development was halted, whose life literally stopped, more than 20 years ago; a girl who doesn't know that that's what really happened. A girl who isn't exactly dead, but isn't exactly alive, either. A girl who can't grow up, because her mind is stuck in a mechanical shell. A mechanical shell that can take tremendous punishment, but that is ultimately not really who she is, or ever was.

Alkaline


My name is Kali Bastille. In my family, for generations, the women have trained for a difficult and noble task. It often destroys us, one way or another. We are taught how to devour the essence of demons, to hold it within ourselves, and to neutralise it with our own magicks and natural abilities. This restores balance to the universe. Some of us don't make it through training. Others go on to convert thousands of demons in their lives before finally succumbing to the terrible toll it takes on our minds and bodies. But never before has a demon escaped one of us after it had been caught.

This is my great shame, and I know not if I can press on with my duty. Even should I find the demon Zhara and catch her once more, can I ever be sure of my capacity to imprison demons again? I have very little on which to go in order to track her down. All I keep seeing in my mind's eye is a pair of letters, always in the same order -- "N" and "V" -- but what meaning they have, I cannot guess.

This crisis of confidence has shaken my faith in myself and in my family's role in the workings of our reality. I find I often now wonder if the powers I possess are truly my own. More frightening is the prospect that perhaps even the actions I take are not my own, either. With every battle, I can feel my hold on my own demons slipping; yet I continue to fight, and continue to hope that that is the right choice.

This is one I had not remembered. The woman whose body was a literal prison. The woman whose name was literally the same as the name of a state prison of France.

The woman who let a demon escape her body, and felt like a failure for letting it out. Who had envy for that demon's freedom, but didn't understand that it was envy because she came at the puzzle from the wrong approach (initials instead of phonetics). Who questioned whether she was keeping Zhara (which is phonetically variant on Sera, I am realizing) prisoner for a truly just reason. Who questioned whether Zhara was a demon at all, or only a demon because she had been raised to believe that that's what Zhara was. Who questioned why it was her job to keep the demon hidden inside herself.

This is the kind of shit that has me shaking my head. I wrote this. I made this up years before I consciously realized I was a girl. Looking back through older works of mine, be they songs or stories, I am certain that on some level, I always knew.

Burn Unit


A national celebrity for his pioneering work in nanomachine-driven organ and tissue replacement, Dr. Bernard Ward was the Mercy Chief of Surgery by day, and relentless tinker in his private lab by night. An unexplained firestorm in that very lab one evening spelled the end of his rockstar lifestyle, and nearly the end of his very life. His assistant, Dr. Bernadette Ng, told Police that she had come to check in on Dr. Ward as she did every Saturday evening, when she thought she smelled smoke, rushed to the lab, keyed her entry code, and promptly set off a backdraft.

By the time Dr. Ng was recovered enough from her own injuries, the window for most thoroughly healing Dr. Ward's grievous wounds had closed, leaving him an invalid following the amputation of all of his limbs in order to save his life. He emerged from a coma some nine months after the fire, was fitted with advanced cybernetic prosthetics, and given a medical leave of absence to recover emotionally from the trauma he had suffered. He refused cosmetic surgery, his lipless yellow grin unsettling the few friends he had left until they all disappeared. Even Dr. Ng finally stopped coming by, belittled by Dr. Ward every visit, and too busy with her own new job as the Burn Unit Chief to suffer it for long.

Dr. Ward felt he had been betrayed by everyone in the world; that in the end, fire was the only constant. He became obsessed with mastering his long-time foe, controlling its every movement and change of state. Though a brief stint as a supervillain with his "Burn Unit" rig ended with him jailed and having a long chat with Defender, who had brought him in, he ultimately decided to use his powers for good... mostly. Some wounded part of him still delights in the pain that fire can cause others, and he views his role as a "superhero" as an official sanction to set fire to anyone he sees fit.

He mocks the Hippocratic oath, and now has his own new motto: "first, do some harm."

Here is one of my rare attempts at constructing a male character. Some of my past secondary misogyny shows itself, here. I interpret that now, in hindsight, as basically simple jealousy. Cis women were free to be women, but I was not, and never truly would be.

So, I imagined a version of myself as a grossly disfigured man who was miserable; a grotesque and mechanical figure, a man who couldn't accept affection or give empathy. Angry at the world, setting everything around him on fire. Trying to do the right thing, because that's what the system demands, but knowing that, on some level, he can never live up to it. That he never could, all because of some accident of his life.

Kizami Shoga


I was once ninja, an assassin, trained nearly from birth and brought up in an ancient and powerful clan. My weapons were what you might expect; shuriken, thrown knives and stars; katana, a popular Japanese-style longsword; and of course, stealth and cunning, and all that that entails. As a female, my assignments often differed from those of my fellows, but in combat, in loyalty, in character, we were all of one cloth.

Yet in truth, I had one higher loyalty. To my older biological brother, ani-ue I called him. On one of those rare assignments where we were able to work together, it was my own careless sword stroke that took his life, my own bloodthirsty blade that stole him away from me. I swore then and there that it would be the last careless act I would make.

I faked my own death so that the clan would not pursue me. I took on the fanciful and false name by which I am now known. And I abandoned earthly weapons for another brand of armament, one far more precise in its targets, no matter how heated or hectic the battle. Time was, I only used the shadows. Now I cast them as well.

While studying their use, I began to loathe who and what I was. I gave up my original plan of being an assassin-for-hire in my adopted home of Vibora Bay, and instead swore a second private oath -- that my skills would be used to save more lives than I had taken, and would take by necessity along the way. Those scales may take more than a single lifetime to balance.

Better get busy.

Kizami was a little harder for me to puzzle out, at first, but now I think I've got it. I view her old life, the assassin, using earthly weapons, as being representative of my attempts to live the life people wanted me to live. To be who I thought people wanted me to be. But on some level, I knew that if I did that, eventually I would hurt those closest to me, just as an accident of trying. And yet even as she acknowledges that she is different from her clan in gender, she also understands that they are essentially all the same.

She fakes her own death, undergoing a transformation of identity, and invents a new name for herself. She does this to hide from her own family, whom she knows will never accept her. She commits herself to training in the use of psionic blades, which can only ever harm their intended targets. She abandons physical weapons for mental ones. She gives up hard power for soft.

But then something curious happens. She realizes, like I did after a little while, that she still had all of this harm she had done in her past life, when she was not herself, that she had to own. I... would not have been able to really understand this if I'd re-read it right after realizing and coming out. But because I've had some confrontations with people from my past since then, and faced my mistakes and owned up to the harm I'd caused, this makes sense to me. It's eerie that I knew it would be like that.

ARGENT Presents Silver Belle


At the forefront of ARGENT's international PR blitz stands the Silver Belle IP, a corporate-sponsored "super hero" that will keep the public distracted from their shadier goings-on. For years, the Silver Belle concept was a pipe dream, a role without an actor. True to form, ARGENT took matters into their own hands to produce that actor by arranging the death of the troublesome, family-oriented Susan Welles, their top tinker and inventor for decades.

When she announced her retirement, ARGENT had her vehicle sabotaged so that during the family's move to a more rural part of Michigan, the brakes failed. The car left the freeway and struck a tree dead-centre at nearly 80 mph. With her husband's airbag failing to deploy, and the dogs flung through the front windshield on impact, dying on the scene, Dr. Welles went from a happily married retiree to a widow who was paralyzed from the neck down. Alone.

Another woman trapped in a body that does not make sense, at the whim of a system bigger than she can fight. An older woman, as well, one who had lived a full life and was ready to enjoy the rest of it, before realizing that now it would never end, and it would never be her own. Using the Champions universe version of a Greedy Megacorp™, ARGENT, I was also showing my disdain for the manufactured face of our society.

Gunshy


"I don't know, Ms. Stock. And you said this is your design? Nobody gave you this, a boyfriend, perhaps?"

Ignoring the implication was usually best in conversations like this, Brandy reminded herself. "No, sir. It's my own work, based on the thesis I did at VBU."

"You know," the Director continued, seemingly oblivious, "times being what they are, the real problem here isn't the quality of engineering that I'm sure your... Portable... Integrated..." He shuffled papers.

"Holographic Overlay Targeting and Portable Integrated Nanomunitions Kit, sir."

"Yes, yes. I'm sure it's quite a package, but the real issue here is field testing. We simply cannot sell something to the United States military on the basis of an untested pipe dream, or even something that works wonderfully in a controlled setting. You understand."

She hesitated, unsure if the conversation was over for him. May as well ask, she thought. "Well. I could test it, sir."

"Hmm? You?" He laughed. At first just a little. Then, when he tried to stop, he laughed harder. "Why, Ms. Stock, I understand that you positively loathe firearms, and cringe at the very sound of them in use!" Again, the laughter, punctuated with wheezing fits of coughing.

With the closest thing to calm she could muster, Brandy rolled her plans back up, and began placing them carefully into her drafting tube again. You were ready for this kind of reaction, she reminded herself.

Still laughing at his own joke, the Director fueled the fire. "A superhero! Who craps herself... at the...! Ahaha! They could call you 'Gunshy!'" he announced with glee.

"Yes sir, I suppose they could," she replied. "Here is my resignation, sir. Thank you for seeing me today." She turned and started out of his office, first walking, then finally pulling her heels off and running full tilt with tears streaming down her cheeks.

Let's just... revel for a moment, shall we, in the fact that not only did I make up yet another world-class STEM woman to role-play, but that I had her design a system for which the acronym was H.O.T.P.I.N.K. This is literally what I spent hours of my life coming up with, stuff like this. All while doing everything I could to avoid my actual life, because that was where I had to try to be a thing I couldn't ever succeed at being, because it was a thing I had never been, and had no idea how to be: a man.

Look at her, she's magnificent. She's brilliant, she's inventive, she creates this amazing system, and when the boys' club won't take it up, she puts it into the field herself, even though everything about it scares the shit out of her. She takes the shitty, nasty label they put on her, and she says, "fine, call me that. Call me that in your corner office, while I go out and make a difference." AND she's unabashedly emotionally present. God, it's like she's everything I wished I could be, back then. 

M.I.A.


Where in the World is Millie Adams? (cont. from page 42)

scarcely five-foot-one, yet her commanding presence seems to radiate from her very core. It is this presence that makes her seem so much larger than life, in person, even if one had never heard of her exploits (surely there are at least a few such people!).

With the onset of World War, many in the archaeological arena simply assumed that the travel and exploration arms of their community would stand down. Bolder than any man, however, is our Ms. Adams, whose initials, in the shadow of war, take on a more ominous and ironic double meaning. Millicent Isabel Adams becomes Missing in Action, or MIA, used by our fighting G.I.'s to indicate which brave soldiers have gone to the field and then gone missing.

When asked about this ironic confluence, Ms. Adams, who insists I call her "Millie," laughs with the harmony of a string quartet. This vigorous, vivacious, vexing vixen verily commands the heart of any man in her company, yet she refuses romance, or even escort, preferring to travel alone.

It is easy enough to understand why any red-blooded American male would wish to protect and serve this lovely firecracker, but those who have tried have failed miserably, our Millie simply losing them at the first opportunity, and sometimes, they have insisted in retrospect, before the first opportunity! How is all of this possible? Who is Millie Adams?

Born into a wealthy land-holding family, Ms. Adams had before her a life of leisure and luxury, with the high probability of an arranged marriage. She has been said to have taken to her equestrian and archery with great gusto and masculine discipline, but the untimely death of her father in one of the new aeroplanes as it crossed the vastness of Lake Michigan changed that, leaving her a rich orphan.
She became obsessed with survival --

(( The paper is torn here, cutting the text short. ))

This campy, pre-WWI-era magazine clipping as expository mechanism has a lot of obvious parallels buried under its boisterous mock-period language. It's the story of a woman out of time, one who rules her own world and enjoys whatever she enjoys without shame. One who is plainly and unhesitatingly herself. Men are attracted to her, but while she largely ignores them, she does so in a gentle and chiding way.

For all the wealth and power she came from, she knows that what she needs to do most is learn how to survive. I built this character up with intent to role-play her as a lycanthrope, after Champions made Become: Werewolf devices available, dropping her neatly into yet another betrayed-by-her-own-body narrative. The untold story there, which I never wrote down, but remembered instantly when I spotted the device in her tray, was that she was bitten, and became a werewolf, herself, so she ran and hid and, you guessed it, started scouring the world, alone, for the cure. The cure to who she was.

Calico


Polly Kate was always the more brash and outgoing of the two Collins girls, so it came as a shock to her parents and indeed her entire family when small-town white-bread little sister Roberta Susan "Bobby Sue" married a Chinese man who had gone out to rural West Virginia to procure soil samples as due diligence for a mining operation. Their whirlwind romance lasted all of four days, after which she announced that she was marrying him, and that was that.

Until six weeks later, when she left a frantic-sounding, garbled voicemail on the family answering machine. With the parents far too old and infirm for much travel, Polly hurriedly packed a few belongings into her old pickup, and drove through the night to Millenium City, pulling into Chinatown late the next day. As a white girl in the predominantly Asian neighbourhood, she was ignored at best, sexually harassed at worst, as she endeavoured to discover the fate of her little sister and her new husband.

Time passed, and after a few months it became evident that if Polly wanted to solve the case, she would need to give up West Virginia for good, and accept living in the city. She took her earnings from a local crafts store, added it to her life's savings, and opened a small sewing and fabric shop in the heart of Chinatown. Business was predictably slow, at first, because of the racial divide, but before long, her relentlessly amiable nature, country hospitality, and depth of knowledge as a seamstress won her a small and devoted customer base. This core base expanded, and soon her business thrived.

Any business in Chinatown falls under the Red Banner's territory, but a thriving one gets special attention. And so it was that Polly's shop was ransacked, week after week. Her customers driven off. Her voicemail filled to the limit with threats and obscenities. She knew that fighting back as Polly Collins would get her killed. But if someone else fought back for her...

This one was a little harder for me to decode, but when I zoomed out to where I am in my life, now, I realize that the seeds of solutions I've developed to problems I've encountered since coming out were here in this fiction. Polly Collins is aspirationally Seranine Elliot.

Polly leaves the familiar comforts of home to help her sister, not sure where it will take her, but sure that it has to be done. I launched myself into the most public view possible to help my sisters, not sure where it would take me, but sure that it had to be done.

Polly moves into a previously-strange cultural context, and wins acceptance by being her most authentic self. I moved into a previously-strange cultural context, and have mostly won acceptance by basically just being me. We both experience social invisibility and/or sexual harassment, but keep fighting anyway.

Polly realizes that she has to let go of old ideas and dreams, and establish her own business; to take literal ownership of her financial future, by doing what she does best. I realized that chasing call center jobs that would waste my abilities and my life was not a viable way forward for me, so I left it behind to pursue what I love, also striving to take ownership of my own financial future.

And finally, Polly suffers unwarranted threats and attacks for chasing her own joy, and trying to position herself to best help her sister, but knows that if she establishes a more public version of herself to stand up and fight, she could both help her sister, and maintain some little sliver of privacy for her own peace of mind. I remember role-playing her as being notoriously bad at hiding her "secret identity," which I now read as an unconscious cipher for the way I decided to divide my public and private life. Like Calico, my public presence is where I expect to engage others, and to have that not always go very well. Whereas my private space is where I expect to not have to deal with attacks on who I am, or to have to explain my identity and why it's valid and matters.

Deadpan


In the Intelligence community, it is widely known that the enigmatic Deadpan is abrasive, but effective, deals with authority more often as a problem than a solution, and most of all, that he gets results. That aside, while it is easy enough to suppose that he is at least middle-aged, male, and has extensive military experience in his background, speculation beyond that point begins to diverge wildly, depending upon the source.

Some who have met him only more recently have wondered if he is an alien or robot, as he seems to never tire or sleep. Others have surmised that he must be American-born and possibly still in the direct employ of the United States government, given his far-reaching access to and apparent influence within that nation's many government agencies. Still others have countered that the bizarre melange of his accent paints him as having had a much more worldly youth, though his accent of late has faded into the drab backdrop of his now constant monotone.

Though his tone remains quite flat in most cases, even when booming to cut through a crowd, his acerbic wit is so cutting and tactless, and so liberally intermingled with his fast-paced, fresh, and raw tactical information that it can be a challenge to tell when he is serious, and when he is not. Add to that challenge the muted affect of his body language, and his completely obscured face, and few struggle to see why he's known by this moniker.

His most recent activity suggests that he is currently working on a new Initiative for the UN, in some relatively high-ranking capacity, possibly even as its Director. He has been spotted in several unusual locations passing out a card with the ominous acronym "U.N.I.N.S.T.A.L.L." to select Superhumans and their contemporaries, often unsettling them more than usual by casually revealing that he knows quite a lot more about them than some of them even know about themselves.

Deadpan was probably the most direct analog for The Jason Construct. He could get things done, but he was essentially not a person. He has a notable lack of tact and inability to have any sort of connection to anyone, he deflects through caustic humor, and he is unsettling to be around, because people know there is something about him that they can't quite put their finger on. Turns out he was just a shell, a hard case; not a whole person. With a design clearly derivative of Alan Moore's Rorschach, haha.

Groundswell


Scarlett Clay was sure she had endured every possible humility over her pun-friendly name, from family trips to the Grand Canyon as a child (mostly for silly photo ops), to her college classmates' relentless teasing of her minor in geology, and shared last name with one of the faculty in that focus, Dr. Ferris Clay. Depending on who was leading the charge, she was at turns called his daughter, his lover, or both. She had thought that was as bad as it could get. She was wrong.

A class field trip to Burning Sands to study the effects of radiation on the soil makeup took a disastrous turn when she was separated from her group during an appearance by Grond in the area. Searching for food and water in the irradiated wasteland, she noticed over time that the ferrous clay that had become a constant layer over her skin could no longer be wiped away faster than it would reappear.

Once she had made her way back to Project Greenskin, she was presented with news both awesome and awful at once. The only reason she had survived without food and water for so long was that she was no longer human in any physiological sense. Her body had become animate clay, constantly shifting and reconfiguring itself. Clothing became more trouble than it was worth, humiliating and mortifying as it was to wander about naked.

Once back in MC, she changed her major from Political Science to Geology, and locked herself in her apartment to study her condition and look for a means of reversing it. Her friends and family were kept in the dark about her strange transformation, and MCU accepted her application for a fully online courseload. Before long, her world seemed to return to some level of routine. It was livable, if lonely, as she never needed to leave her home for food, and managed to have anything else she required shipped to her door.

And then the Qularr came. Acting purely on instinct, she fought back.

This one is so obvious it's laughable. All she really wants is to pursue her passion (which is POLITICAL SCIENCE, are you fucking kidding me?) but she's derailed by this accident of fate. Her body literally betrays her, and she hides away from the world, devoting her life to "reversing" her condition. She hurls herself studiously to a new area of study that had previously been barely above a hobby to her, when suddenly, reality strikes, and she is forced to fight to survive, even though she doesn't quite grasp what she really is by the jumping-off point at the end, there.

The game engine doesn't support it, but I would actually LOVE to role-play Groundswell, now, as a non-binary genderfluid character. It'd be wonderful if I could use the huge male, male, and female models as bases for a number of life-sized animate clay figurines, essentially. To really fully and finally grasp the use of they/them/their pronouns, by playing someone who was genderfluid, or agender, or some other non-binary expression that I still have to consciously work to recognize and honor in others.

Alizarin Crimson


Triple Tragedy Topples
Triumphant Teen Titan

(cont. from A1)

already at the top of many analyst's lists for Olympic gold in an incredible variety of events, the athletic prodigy still seemed to always float above any controversy. Even her exploits at several Junior X-Games competitions during her pre-teen years left her unscathed by the illicit cybernetic prosthetics scandals that laid many pro skateboarders low. Cameron never had any such devices, and provided only forgettable, if timely and insightful comments as the careers of many of her fellow athletes came undone.

Now only 17, Vibora Bay's prized youth role model has finally found herself embroiled in her own controversy, and worse. Not only was she at the center of a dogpiled stream of accusations from anonymous sources, claiming that she was using metahuman abilities and possibly devices barred by the rules of various leagues as well, but in the midst of that professional pummeling, the unthinkable happened in her private life.

The recent rise in gang activity, particularly the now open war between the New Shadows and the Dogz, long rumored to have vampires and werewolves in their ranks, respectively, has left many in the Bay area edgy and jumpy, but never has the sheer loss of civilian life been so extreme or exposed as in what many now call Vibora's Valentine's Day Massacre. Among the dead, Alison Cameron's own parents, brutally slaughtered in a belligerent bloodbath in what police currently believe was just the most awful of possible coincidences -- nearly simultaneous home invasions by agents of each of the rival gangs mentioned above.

Finding herself orphaned and jobless, Cameron's relentlessly cheery public persona seemed to evaporate. She disappeared from competitive Archery, abandoned track and field events, made no appearances during this year's Junior X-Games, in the pipes or in the stands; she was

(Cont. on A5)

This one is kind of laughably awful, but it does draw attention to my sense of "are you fucking kidding me?" all throughout my life Before. Feeling like disaster upon disaster upon disaster was falling on me, feeling cut off from family by bizarre twists of fate. Feeling like I just wanted to be a normal girl, and get to grow up and be whoever I was, but having to hide, instead, hounded and misunderstood.

Axe of Contrition


"I see you have abandoned Therakiel's madness, Edheriel. This bodes well for you," said the Gatekeeper.

"I came not to argue the end," Edheriel sneered, the bassy rumble of his voice all that was left by which to recognise him. "I disagree with Therakiel's means. He has a plan."

"... Go on," he said.

"I did not like it."

Suriel looked down upon Edheriel's twisted form, a mockery of his former Grace. He squinted. Edheriel could feel his gaze searching for Sincerity, and felt mildly smug when he saw the barest arch of the Gatekeeper's brow.

"You do recall, I'm sure, the rules," said Suriel with a casually dismissive wave of his hand. Edheriel grunted his accord. "But."

"But?"

Suriel paused once more. Edheriel had never liked that. He availed himself of the opportunity to imagine terrible fates befalling him. "You also recall, I'm sure," he condescended, "how big we are on faith, and redemption as well. You are here, which means you want back in. That means penance. And you have information. So." He placed his ancient hands one atop the other on the seam of the Gates, his face twisting into a smile that seemed out of place. Maleficent. "There is... one way."

An Eternity of waiting later, Edheriel stood before the Greater Good, his right hand raised, his left resting with affected reverence over a teetering pile of holy books, stone tablets, and talismans from all corners of Reality. The Oath was sworn, binding him indefinitely to Silence, to Service... and to the Axe.

The Eternity of waiting had allowed his former shape to be restored, but had dulled his skills. Now he was no longer the formidable Holy Avenger, but a babe, clutching feebly to a stick as it hurtled down, down, down, forever down, his scowling Watcher close behind. At long last, their descent came to a halt, where the Greater Good was at its weakest, where the need was greatest, in all Reality.

Lots of plain metaphors, here. Edheriel's name is nearly a homophone for "ethereal," speaking to the ephemeral nature of our bodies, and how we are more than that. He tried to be something he wasn't, and it destroyed him. A literal gatekeeper says there is a way he can go back to how things were, but he has to submit utterly to their rules. The gatekeeper's name is nearly a homophone for "surreal." That is, the fact that we have so many barriers keeping us from finding our truest selves is an idea that has a disorienting sense of unreality to it. Edheriel binds himself to the service of ancient authority, and silence in the face of its wrongs, in order to return to Earth in a husk he can't live in, all in the hope that someday he will be able to go back to how things were before. Before, when he was unhappy, but more comfortable. He is tired, and he is angry, and he is utterly alone, but ultimately, the story sends him where he needs to go — to the worst place and time he's ever been in his life.

After losing everything, a future I saw coming, and saw as inevitable, my life followed more or less this track. I was going to school to get a degree I didn't really care about, to try once again to be the guy I never was, and could never have been. I was bound by cultural norms and societal rules, which act as these surreal gatekeepers, telling us the ways in which it is okay to explore our own identities, and the ways in which it is not. Just as Edheriel was shown the rules of angelhood, and commanded to uphold them, but could never live up to them, I was shown the rules of manhood, and commanded to uphold them, but could never live up to them. The reason this story feels like it has a happy ending, to me, was that I know I didn't find myself until I had lost everything else. And I think the same would ultimately prove true for Edheriel, too.

Neither of us were ever what others thought we must be, based on how we looked, and so we spent our lives atoning for a sin that was not ours.

Mechanom


D,

Look, I get it, you don't want to be a babysitter. That's not what I'm telling you to do. Key word: "telling." You still report to me, and don't forget it.

The fact is, this thing falls directly under your purview. It is a new threat. Its capabilities and intentions are unknown at this time. Your unit got the go-ahead when you convinced the brass that you could keep liabilities like this as limited as possible. Now you need to keep your word. You can't just get the budget and the toys, you have to do the work, too. We don't need another Detroit.

So whether you neutralise the thing (if that's even possible) or talk to it and convince it to do what you want it do (if that's even possible), I don't give a good God you-know-what. As long as you're the one doing it, and not me. Or anyone else, for that matter.

All I want to hear back from you on this is, "I've got it covered," and then straight back to the usual dailies. Get it done. It's what you're paid to do. I keep the brass off your back. This, however, is your problem.

Adm. Herbert K. Thornton III
UNTIL, Commanding

This one was kind of interesting to me. Mechanom was originally conceived as a lighthearted play on "Mechanon," one of the major villains of the Champions universe. I basically wanted to make a huge idiot robot that just ate everything. I didn't really bother explaining or thinking about his origins, so much, just that he was being who he was, and that who he was was perceived as a threat. That people would approach him not with curiosity or any possibility of genuine acceptance, but with a need to control him, and, failing that, to destroy him. For existing outside of the rules. There's also this sense that nobody wants to even deal with that, that they kind of just wish he didn't exist, in the first place. So, who do they hand him off to to deal with? Deadpan, another of my characters, himself a cipher.

I think I had this fear, subconsciously, that if I were to really just be who I was, I was going to find false friendship, at best, and that this story concept for Mechanom expresses that.

Glitchcraft


James Harmon IV and his lady love Bethany "Witchcraft" Duquesne celebrated their Valentine's Day 2012 by adopting a Miniature Pinscher from the local animal shelter. Although he was not initially keen on the idea, at Bethany's insistence, he soon warmed to the pup, and sure enough, after calling her a "Glitch" in his life one too many times, she claimed the title and made every effort to live up to it.

Before long, she became more Harmon's dog than Duquesne's, and he even lightened up enough to allow her to follow him around in his workshop, realising early on that she tended to keep herself comparatively out of trouble. (Asked about this later, Harmon is reported to have said, "that little bi-- Glitch was destroying my penthouse every time I left! Of course I took her to the lab!")

She was ignored as Harmon entered a crunch development period in advance of a public demonstration of a prototype Compact Rapid Adaptation Field Technology (C.R.A.F.T.) powered suit, which featured breakthrough "Holo Hex" technology. This approach to fielding personnel in response to a variety of crisis situations, from police needs to high-conflict military scenarios, would allow for the pilot to control the vast majority of the suit's systems by thought alone, with virtually no initial or ongoing training.

Though he had never in his wildest dreams imagined a demonstration quite so effective at showing the world just how dumb the pilot could be (without the pilot feeling insulted), heavy traffic bought sad, lonely Glitch just enough time to settle down for a nap in just the right area shortly before the suit was powered up for the demo. His face fell as the stage rose, and terrified Glitch offered a happy yip at the sight of her beloved master.

Red-faced, he hurriedly ad-libbed, "... that even a dog can operate it!" birthing this new legend, fully formed from the skull of Athena, into the sk-- streets of Millenium City.

I love this character concept. It's yet another hugely obvious girl-in-the-wrong-body metaphor, but with a relentlessly lovable and uplifting lead, rather than my more typically emo concepts. Glitch is seen as a mistake by her "parent," but she wants to be a part of the family. She loves everyone, and if she's destructive, she has zero intent, and even less idea. She is impossibly happy in that way that only dogs are, and accepts that her body isn't quite right with aplomb. And, most tellingly, when she is supported for who she is, as she is, when she "comes out," she goes on to great things. Rather than being man's ideal vision of woman (Athena from the skull of Zeus), she is woman's own acknowledgement of herself, whatever the form — even if it's Glitchcraft from the skull of Athena, someone who was a headache and a problem until she was set free, and given leave to be herself.

Sigilante


Kara Wheeland, orphaned daughter of unknown lineage, grew up mostly alone, or so she felt, in downtown Detroit in the early 1930s.

I was going to leave this one out, but I thought I'd include it to highlight that even in my briefest, most vague concepts, I still touched on identity issues. She feels alone, even though she isn't. She's nearly 80 years old, but looks like she's 25. She hides her face as much as possible, and nobody really knows who she is.

Spearhead


Foolishly did I challenge mighty Ares to single combat, in a fury at the death of our king, brave Leonidas. Where he might have scoffed at my hubris, instead did he accept my challenge. Nothing to be won but the winning. Nothing to lose but my life.

For days did we battle, and days became weeks. Weeks became months, months became years. I paid no heed to the passage of time, save by the wear upon our weapons. At last, I was victorious. I had defeated the God of War in his own domain, on his own terms. I had won.

I broke off the tip of his spear as a trophy, and prepared to return to the mortal realm. Ares laughed. I did not understand why until my feet once more touched the earth. The world had turned, and I, in my mad quest for vengeance, my mad, foolish quest... I had let it pass me by.

Okay, seriously. I cannot think of a more obvious cipher for "trying to be a man, doing okay financially, but ultimately still failing, and finding that the world has passed me by, and that the skills I've developed are out-of-date" than "I fought Ares, the LITERAL GOD OF WAR, and I thought I won, while actually losing anyway, and I found myself displaced in time, with skills that had no value anymore." I even describe that pursuit as a "mad, foolish quest." I am consistently astonished that I was writing any of this stuff, while still having no conscious idea that I was girl.

Whimsy


The tireless Misty Fairweather enjoyed a normal life as, she believed, a normal girl. While she excelled in track events, and seemed to rarely need much sleep, she didn't exhibit any truly superhuman behaviour until puberty hit. An instance of spotting for which she was wholly unprepared led her to flee, mortified, from the school grounds. What she didn't notice until she had gotten home was that at some point, she had actually stopped touching the ground.

I don't think there's much to this, other than a body doing a reeeeeeally unexpected thing in puberty. And while I think I would have preferred being a cis girl who has the ability to control the wind, I find that as a trans girl, who is also seen as dangerous because of what she might represent, without any regard for who she is, we have a lot in common. This is the old X-Men coding that I grew up on, where "mutant" was a cipher for "Those People."

Vex


The Duchess Vex, thanks to the machinations of her brother (who was born to the unfortunate name of Nemesis) found herself next in line to the throne of an Empire she did not want to rule. In her desperate attempts to escape the heavy weight of that duty, she began to explore means of travel to other realms.

She happened first upon the Qliphothic, but found it lacked amusement and the sense of humour which she prizes above nearly all else in life. She left it behind, but unbeknownst to her, a piece of it joined her on her interdimensional journey.

Next, she came to Earth, and found it an ideal match for her notions of how one might best pass time. There were objects of little spiritual weight that she could toss about with half a whim, there were intelligent ape-like creatures who thought very highly of themselves and were thus prone to her manipulations, and best of all, there were countless gateways to other dimensions. The fabric of reality was thinnest in Millenium City and Vibora Bay, and she has made these two places her new homes.

UNTIL has recently opened a file on her, trying to determine her exact nature and intents. While she has sided with what they would call "the good guys" more often than not, her appearance on either side has seemed more a matter of chance than anything else, and she seems to delight in chaos and mischief far above any other considerations.

Dimension-hoppers were always some of my favorite kinds of characters, and Vex is probably my ultimate expression of that. She has power and privilege, but she does not want either of them, because they are not who she is. She rejects them, because she only wants to be herself. She explores different kinds of realities (that is, different theories of reality), before settling into one that she likes, one that feels closest to what she knows is true. But the people there don't understand reality the same way she does, so they perceive her as dangerous.

The idea of someone who could navigate between realities always fascinated me. Vex is probably the nearest story I developed to paradigms presented in The Matrix. When she's tossing shipping containers and semis around with her mind, that's a problem chiefly because The Rules of Reality say that you can't do that. It's not that she's inherently a threat because of who she is, or any particular action she takes, it's that she's an unknown because she understands the world completely differently from most people. And most people find challenges to their reality, their status quo, terrifying, especially if it had been working for them. To most people, a shipping container is a valuable thing that should be protected. To Vex, it's a light, easily-accessible tool she can use to save lives, and which has literally no value in comparison.

Ms. Gemini


What Jim Nystrom, AKA Mr. Gemini, believed to be a mutation in his genes, bestowing upon him the incredible power to replicate his physical form while maintaining control over each of them, was in fact not a mutation but rather the unfortunate result of his older sister Jen's experiments in rapid tissue regeneration. Lacking serious funds and access to anything but her own computer models and simulations, Jen elected to try her theories out on her own body.

She calibrated makeshift beam projectors, double- and triple-checked her numbers, and blasted herself with a wide-spectrum array of light in combination with radiation and specific sonic patterns. The complexity and intensity of the various components of the experiment were such that her equipment shook itself apart, some pieces destroyed completely. Though she could have rebuilt the lab, and is certain she can replicate the process, once she discovered the unforeseen impact on her brother, she abandoned her research and set out to save him from himself, and to keep him from coming to harm, or worse, at the hands of rival villains or over-exuberant heroes.

Perhaps the worst of all, to Jen, was that the delusions Jim developed due to the fact of his power were more the consequence of the mental strain of maintaining so many replicants than anything else. Jen's heart was crushed when she discovered that her experiments on her own body, which she had believed to be 100% successful, had wreaked terrible harm upon her beloved baby brother.

Girl irreversibly alters her body for a greater good, causing her brother to freak out and turn into a villain. This one is probably more about inventing an original character to play off of a Champions universe character, Mr. Gemini, than anything else. But even with something this tangential, the idea of a family member becoming a problem for everyone as a result of something I do in the pursuit of a valuable truth seems like a fair enough metaphor for fears around coming out to family. And once they've "turned evil," that internal conflict of how to best help or save them comes to the fore. Does she kill her own brother, that is, does she cut him out of her life for good? Or does she just do everything she can to keep him from hurting others, until she can bring him around to reason?

Dreamcatcher


I have been trying to die my entire life.

I forgot about this character. And when I opened up her bio to see what I'd written, I cried. I remembered how awful I felt Before, how constant it was. And I looked with new eyes on my Dreamcatcher, and the broken and mangled mass of her body. On how she tried to help everyone with her natural abilities, no matter how frightening or awful or repulsive they thought she was. How her life was endless misery, and how she did the best she could to help everyone anyway.

Logic Bomb


Nameless until recently, the device referred to by Millenium City's scientific community as "the Logic Bomb" appeared in the desert lands in the Southwestern United States shortly after the initial Qulaar landing in that area. Its name is derived from Max Plank's theory that it was planted by yet another alien intelligence long ago, and was triggered to activate by the event of the appearance of another alien race. He is not certain that this theory is correct, or if the Logic Bomb was set to be triggered by the mere presence of aliens, or if it reacts in particular to those hostile to humankind. He has also pointed out that there is no reason to think that this is the only one.

It does not seem to have a mind in the traditional sense, as telepathic probing and psychic attacks upon it produce few results of any kind. Since its first sightings as a shapeless mass of wires and plates, the Logic Bomb has continuously reconfigured its body, and now holds the form of a vaguely feminine human child.

To the extent that its presence benefits humankind, the Logic Bomb's standing on the right side of the law seems to be incidental at best, and attempts to communicate with it have not yielded anything. James Harmon has been developing remote probes to follow the Logic Bomb and determine its true nature, for his observations to date have led him to conclude that it is currently operating in a data-gathering mode. Unfortunately, much of what it scans is destroyed by the scanning process. It is highly reactive, and will aggressively scan anything that attempts to do it physical harm. To date, this has kept it in the sights of many nefarious organizations, as conflicts escalate quickly once the Logic Bomb is fired upon.

An intelligence that we cannot recognize by traditional means, coupled, again, with that same metaphor of being sort of accidentally destructive, while also fundamentally good. She's kind of an empty shell, but, left to her own devices, what does she make herself look like, as she explores the world around her in order to try to figure out where she fits in? A little girl.

Logic Bomb existed in City of Heroes as a fire tank archetype, but the conceit was the same; she was awakened by an alien presence, and she built herself up from whatever was around her in order to fight it off. This version was altered to fit better with Champions Online power sets, and gives a nod to League of Legends and their Vel'koz, who also scans things ("deconstructs" them) in order to understand them.

Push


(cont.)

and remains a promising avenue of research, as the director of this project, I must assume responsibility for our failure to deliver the promised result, that of a powered suit capable of full flight with an inexpensive and mass-producible power supply.


Among the problems we encountered was a relatively severe shortage of range on the repulsion fields, so although the power requirements were met, the capacity for full flight was not, as the suit's wearer can only reliably hover about one to two feet above any solid surface. Even in this case, however, there is a need to counter the repulsion field to some extent in order to produce some level of control; for example, some sort of a spoiler device affixed to the user's back. With this, the sensation of movement experienced by the user is not unlike that of a watermelon seed being pinched between the thumb and index finger. It is possible to utilize as a means of travel, but only with a great time investment that is ultimately impractical for our needs.

Attempts to explore weaponization of some of our advancements were also of limited yield, as these devices were initially developed to repel the user from nearby surfaces, and not to destroy said surfaces. However, we did achieve some limited success.

Of possible interest to my successor is the fact that high-intensity repulsion fields excite the local molecules to such an extent that, in air, what appear to the untrained eye to be very tiny wind systems occur. It is worth noting, however, that this is due to an artificial repulsion field exciting the air molecules, and not due to excited air molecules creating a repulsion effect. Given enough time operating under these conditions, a static discharge may also occur.

This concludes my notes on this project, as well as my resignation.

Regards,
Dr. Susan Welles, PhD
Director, R&D
ARGENT, Inc.


I feel like the metaphor of a woman designing a suit, to the impossible specifications of her superiors, that ultimately is only good for literally pushing everything away is pretty plain. It can't even fight. It's supposed to, that's what people expect of it, but it can't. The best it can do is keep everyone away.

Also worth noting is the fact that the inventor of the Push suit is the same Dr. Susan Welles who goes on to become ARGENT Presents Silver Belle. So, she tried very hard to be what the system wanted her to be, and when she finally tried to retire from it, it destroyed her in order to keep her from just being herself.

Finally, the woman who actually is Push is never even mentioned. She's just a girl stuck in a suit of armor that is designed to keep everyone away from her, and when she finally takes the helmet off, she discovers she no longer has a body of her own, at all.

Blast Radical


Ship's Log, S.C.V. Kimbra Lee Johnson

I have taken over command of the S.C.V. Kimbra Lee Johnson, in accordance with all standing operational procedures regarding change of command, after exposing Captain Hardaway as an alien infiltrator. I theorize that he may have murdered the actual Captain Hardaway and taken his place, due to the Captain's long and illustrious career with the Fleet. I find it less plausible that Captain Hardaway was always an alien agent, as an Ensign would not have been a valuable covert asset. Although I am not certain of much other than that Captain Hardaway is a spy of some sort, I will continue to refer to him by that name until contradictory data presents itself.

He escaped the ship using an E.C.H.O. system, but in pursuit of him, both the S.C.V. Kimbra Lee Johnson and his ship were sucked into what my science officer describes as a "temporal-spatial vortex," which has transported us not only physically a great distance from Fleet Headquarters, but also some additional "distance" through time. We cannot be certain if we have gone forward or backward, however, and our star charts are of no use to us in this foreign system.

However, I am absolutely certain that Captain Hardaway's E.C.H.O. is on this planet, which some of its inhabitants creatively refer to as "Earth." We believe he landed in what the natives call the "Western Hemisphere," but beyond that, we have little to go on. I have been working with the natives to secure their favor and hopefully find clues to Captain Hardaway's whereabouts, while the ship remains in orbit, ever vigilant, scanning for any sign of technology from our own world, or any of those of our known enemies.

In order to facilitate Captain Hardaway's capture, I have engaged various groups of metabeings on Earth. Perhaps by working directly with some of them, I may discover his whereabouts.

Major Blast Radical, Commanding
S.C.V. Kimbra Lee Johnson

Okay, first of all, yes, I am a huge Kimbra nerd. Beyond that, let's see...

I had always envisioned Blast Radical, even back to his City of Heroes iteration, as a complete asshole. He was basically my version of Disney's Gaston. Very fun to role-play, but not anyone you would ever actually want to be friends with in real life. Which leads me to want to examine his prey more directly as a cipher for me, or for trans people. And what's that look like?

The Captain, whose name sounds an awful lot like the "hard way," has achieved great success, but when a secret to his identity is exposed, when it's revealed that he wasn't, on the inside, what everyone assumed he was, based on the outside, he's immediately unseated, and hunted. "Alien" here is pretty clear code for "other," of whatever kind, and apparently Blast Radical, in Champions Online, at least, is an agent of The System.

Le Baton Rouge


Le Baton Rouge est une heroine de la France, fameuse pour arrêter beaucoup de voleurs et criminels. Pourtant, la police ne lui aime pas, parcequ'elle travaille dehors la loi. Après vaincre un fonctionnaire du gouvernement qui était corrompu, elle s'enfuit la France et elle a venu aux Etats-Unis.

Okay, so, clearly I was in French classes when I invented this character. But even in this case, I'm still seeing obvious metaphors. She's a famous hero, she's a valuable member of society. Until she exposes government corruption that leads to the arrest of a member of the establishment. And then, though her cause and life are both just, she is driven out, and has to try to be herself, and survive, somewhere else, in another culture entirely.

Pandora


Appearing just a few short months ago in Millenium City, Pandora has yet to speak a word to anyone. If she has family, no one knows. Whether she's from Millenium City, or somewhere else, none can say. Her apparently technological minions defy reason; after she helped Defender break up a gang alliance council, he took the remains of one of her so-called Attack Toys back to Harmon Labs and analyzed it. It was found to be a simple stuffed snowman toy, without any circuitry to speak of.
Closer examination of Pandora's "costume" at a later battle showed that her wristband, originally assumed to be some sort of advanced control device for her "robots" was little more than a broken calculator that had been affixed to an elastic wrist band wrapped in aluminum foil. Even her now-famous multi-function pistol is nothing more than a simple ping-pong ball gun.

Still without uttering a word, the child submitted to mystical examination by Witchcraft, who could not discern the source of her powers, but had a guess as to their nature. She posited that her unique ability was to bend reality itself to her whim, that whatever she imagined became real. Thus far, Pandora manifests this power chiefly by willing her toys to life, but her true limits have yet to be explored. Witchcraft stressed to all the Champions the importance of keeping themselves available to Pandora as guides, in order to direct her development in positive ways - or at least in ways that would not ultimately be catastrophically destructive.

Last one, and it is, like the others, pretty consistently easy to read as a metaphor for trans existence. In this case, rather than playing a character existing in a hostile world, and trying to work around that reality, even to the extent that Vex does, I made a character who basically just reinvents reality, instead. And again, she is instantly evaluated as a threat, even though all of her appearances have only ever been on the side of justice. The Champions fear Pandora because they cannot control her, and they know it. So instead, they seek to manipulate her, to ensure that she grows up to enforce their norms, rather than inventing her own.

What about now? What about stories I've written since realizing who I always was? I haven't made any new characters in Champions Online, but some people I used to play with a lot have bumped into me and messaged me. So far, the response has been more or less like this:


He said all that to me because he read my updated eponymous character bio. Now, in Champions Online, Seranine is basically a fourth-wall-breaking me:

Seranine 


Hi, my name is Seranine, and I'm here so you can get to know a real live trans woman!

Find me at seranine.com.

I like to RP my characters, but I play this character as essentially a Champions Universe analog to me. So, like me, her legal name is Seranine, and like me, she's a transgender model, musician, actress, and advocate. Like me, she loathes violence and conflict. Unlike me, she has amazing otherwordly powers. But, I've tried to imagine them as variations of what I do in real life, just in a more fantastic and comic-book way.

I view her powers not as damaging enemies, but rather as either shining the light of truth upon them (with Radiant powers), or drawing out the ugliness of ignorance (with Darkness powers). In this way, while I can navigate the game and its demands for combat, I can also stay true to my own personal ideal of pacifism. In RP terms, I would say that the purging/drawing process is exhausting, and that's how she "defeats" enemies.

I tried to use the character creator to build a model as close to my appearance as possible. For the costume where she's opaque with normal skin, I couldn't quite recreate the dress I wore to a modeling shoot on Alki Beach, but I put together something close. My shoulders are a little broad for a girl, so I set hers to be the same way.

In terms of RP, go ahead and walk up. If the area is crowded, use /t as an aside. Or something.

In general, I encourage open dialogue as much as possible, and try to avoid punishing people for not knowing what they don't know they don't know. HOWEVER, I am not here to necessarily be myself, although this character is supposed to basically be that. I'm here to play. If your character wants to talk to mine, that's fine. But if you, the player, want to talk to me, the player, and ask questions or whatever, please do so through my Public Figure Facebook Page, instead: http://bit.ly/sera-9

Thanks, stay safe!

Her Nemesis, an original villain the game let me create, is Transphobia, a generic-looking, vaguely threatening male figure who looks like the default Nemesis icon in the game's instances menu. And while she can't take him down alone, he also can't kill her. But once her friends show up, fellow superheroes, they make short work of him.


She has powers because that's how the game works, but I conceptualized her to be me, as much as possible, even down to the character model's proportions. I role-play her giving people my card, and talking very openly and honestly about being trans. So far, I've had a wonderful reception. The only transphobia I've seen (not to be confused with that villain, Transphobia) has been indirect — written into other people's character biographies, for example; but not actually directed at me during a conversation. The messages I actually get from strangers look like this:


And this:


The closest thing to possibly-coded prejudice that I saw was one player character, Rose, talking to another player character, Jean, about how my "magic" was unsettling to her, after they both thought I was gone. She said that she didn't feel comfortable around people who looked like me, that she felt threatened because she did not know them. Jean pushed back, saying that she knew who I was, that I was a famous model, and that she really looked up to me. And sitting at my desk, I wept.