#choices reconceptualized

[rollercoasterwords]

honestly thinking abt "i got mom'd" again in light of recent discoveries....imagine spending ur whole life trying to be a daughter who is a son who is trying to become her father so that maybe he'll be proud of her who like. so desperately does not want to turn into her mother. and then ur dad dies and ur no longer a daughter, and ur husband betrays u so ur no longer a wife, and ur brothers begin to close ranks so ur no longer a sister....shiv literally gets mom'd in this episode. all the other threads are being cut and the only one left is a growing umbilical cord

[taylorswiftstylequestions]

Aside from the fact that we’ve known about Castles Crumbling since the original Speak Now era (I remember all the fan speculation about what it was about since we only had a title, no lyrics) I think the song is very clearly Speak Now era Taylor’s writing? I understand why people associate the subject matter with 2016 but if you compare it to stuff she wrote on reputation about that experience it just sounds wildly different lyrically. It’s also not specific at all to any particular situation— she doesn’t talk about what has caused her castle to crumble beyond her own feelings of self-loathing, because it’s not something that’s happened, only something she’s afraid of happening. It’s not like on rep, where we get lines like “all the liars are calling me one” and “you said the gun was mine” and basically the entirety of TIWWCHNT, where it’s quite obvious she’s talking about a specific situation

And we also, frighteningly in retrospect, have MANY interviews from this time period where Taylor talked about one of her greatest fears as being framed for a crime she didn’t commit, for always being afraid of the rug getting pulled out from under her. Hence the highly regimented good girl behaviour so as to avoid scandal and blame and bad things at all cost and then, well. We saw what happened.

Aka her literal worst nightmare come true.

And tbh I can even see the angle that with all this hindsight that it partially drives her choices for Vault song inclusions. I always try to think about the deeper meanings behind her choices. Sometimes I think it’s a peek behind the curtain of her songwriting process because our ears will perk up at little phrases or words from these cut tracks that were later reconceptualized on other tracks from other albums. Sometimes it’s to provide an entire narrative world behind the world you thought you knew from the presented tracklist that slots the extent of all those emotions into a clearer picture. Sometimes it’s an eerie premonition of her life and events that have happened to her since that completely change the meaning of those original songs.

[atlaslego]

<Type Atlas Unit 03 KAI (改) >

The KAI series will focus on modifying details with enhancing pieces usage. Compared to all the original, the KAI series will also be focusing on reconceptualizing them into specific roles in battle. The series will not cover all the units due to lack of pieces in specific colours.

Take Unit 03 as an example here, adding striking blues to make it look more vibrant. Changing shoulder and leg designs to reduce the bulkiness and increase the dynamics. Shoulder armours are modified with new movable shield with interchangeable attaching designs for weapons. Added in missile launch box at the back pack to increase the variety of arsenal choice.

Concept wise, completed removed close combat weapon like sword, instead, I reconceptualize this unit as a specialization for long range attack with riles, pistols, and missile along with enhanced defensive mechanism with over sized shoulder shield.

The presentation of post may vary thought out the series as I am playing around with some new equipments.

[psychic-refugee]

I am also disappointed in the book because of its sole POV from Wednesday. I was really hoping we’d get more insight not only into her thoughts, but into others’ as well. I was hoping for more background lore.

I wasn't expecting a GRRM or Tolkein amount of lore or writing level, but I was hoping for so much more than what we got.

This book was such a disappointment for anyone who wanted more than just finding any scrape of proof to twist into evidence of a ship. It even fails at that because once again, nothing explicit is ever stated, no matter how much they try to bully you into declaring any ship as canon.

This novel cannot stand on its own. Its lack of detail and simplistic narration makes it so that you can only really get the full concept of the story IF you had watched the TV show first. The characters are so bare and hollow.

If you are a fan of Yoko, Divina, Kent, or Bianca, you will also be disappointed. There’s barely anything there with them. They’re almost extras with how little time and consideration they’re given.  

The book glazes over key points or reconceptualizes certain scenes by dropping or changing dialogue. I think it did a disservice to all of the characters.

It wasn’t worth the money as it serves as a poor reference for the series since it has so many mistakes and has poor creative choices that are in direct conflict with what we see in the TV show.

[purpletyrant]

"This is no place for you," says the unicorn. Her shovel glints in the moonlight, inches from your throat. "Dead things ought to stay dead."

redraw of one from 2022

i think reconceptualizing the angle was the right choice here, because its now shifted from "oh im just a wee unicorn and this scary dirty lizard just popped out of the earth like a groundhog, whatever shall i do" to "cmooon im a lil guy, im a lil guy and its my birthday, youre gonna kill me with a shovel when its my birthday? cmooon" which is much more accurate to the scene

man i am willing to draw just about ANYTHING to put off this pomona comic. its still coming. do you think ill get it out there before art fight? who knows

[transformativeworksandcultures]

CFP: Gaming Fandom

The study and analysis of creative fan production (e.g., fanfiction, fanart, cosplay, etc.) is a cornerstone of fandom studies. These practices enable fans to assert a level of authorship over their favorite media – to reimagine, recontextualize, and reconceptualize their canons to better reflect their desires, wants, interests, and demands. They provide voice to individuals who cannot necessarily shape source texts directly (Vinney & Dill-Shackleford, 2018), allowing fans to carve out space for themselves within the pop-culture landscape that celebrates/embraces their identities. This is particularly poignant for marginalized fans. As such, we can understand fan practices as unique and invaluable forms of cultural critique (Jenkins, 2006; McCullough, 2020). 

This active engagement – arguably – is magnified within gaming fandoms and communities because the act of play is inherent to the source texts, whether that play comes in the form of hitting keys on a keyboard, moving joysticks on controllers, rolling dice, etc. Gaming seemingly provides fans an inherent sense of authorship over source texts as the players’ actions, choices, and skill shape the outcomes and narrative progression; thus, gaming fandom presents a strong opportunity to explore the idea of fan creativity as cultural critique and our understanding of authorship, ownership, and identity across the pop-cultural landscape. This strength is only increased by the critical reality of many gaming communities and spaces; criticism leveraged at games, gamers, and gaming communities is commonplace with topics like the lack of representation, the focus on hegemonic masculinity that often takes a turn towards toxicity, and the vitriol directed towards gender and sexual orientation politics being frequent points of discussion both by scholars/researchers, by journalists and reviewers, and by those within these communities. Of course, not all gaming criticism focuses on the cultural and political; some emphasize mechanical, financial, and performance issues.

 This special issue of Transformative Works and Cultures will explore fan creativity as critique in gaming fandoms; while we are construing the term ‘gaming fandom’ broadly, we are primarily interested in analyses and scholarly discussions of and related to fan-made works and productions, including fanfiction, fanart, cosplay, mods, fan-made games and series, etc. We welcome all forms from methodology – quantitative and qualitative, empirical and theoretical, etc. Possible topics include (but are not limited to):

Exploration of how fan-made works address and critique gender norms and sexual identities within gaming communities.

Exploration of fanfiction as a means of reclaiming and reshaping game lore and canon.

Analysis of LGBTQ+ representation and narratives in gaming fanfiction and fanart.

Case studies of specific mods (i.e., modifications) that have sparked significant discussion or controversy.

Investigation into how cosplay challenges or reinforces cultural stereotypes and representations.

The role of cosplay in expressing identity and critiquing game character design.

Study of fan-created games that offer alternative perspectives or critique the original game.

Exploration of intersectional critiques in fan-made content.

Investigation into how the act of play influences and enhances fan creativity and critique.

Study of how fan productions are received by broader gaming communities and the original creators.

The impact of fan critique and creativity on game development and industry response.

Examination of the ethical considerations and legal challenges in creating and sharing fan-made works.

Discussion of intellectual property and the boundaries of fan authorship.

Study of how digital platforms (e.g., YouTube, Twitch, Discord) facilitate and shape fan creativity and critique.

The role of social media in disseminating and discussing fan-made works.

Comparative analysis of fan creativity and critique across different gaming franchises or genres.

Examination of regional differences in fan production and cultural critique.

Submission Guidelines

Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) is an international peer-reviewed online Diamond Open Access publication of the nonprofit Organization for Transformative Works, copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and promotes dialogue between academic and fan communities. TWC accommodates academic articles of varying scope as well as other forms, such as multimedia, that embrace the technical possibilities of the internet and test the limits of the genre of academic writing.

Submit final papers directly to Transformative Works and Cultures by January 1, 2025.

Articles: Peer review. Maximum 8,000 words.

Symposium: Editorial review. Maximum 4,000 words.

Please visit TWC's website (https://journal.transformativeworks.org/) for complete submission guidelines, or email the TWC Editor (editor@transformativeworks.org). 

Contact—Contact guest editors Hayley McCullough and Ashley P. Jones with any questions before or after the due date at hmccullough.popculture@gmail.com and ashley.jones@wartburg.edu .

Bibliography

Dill-Shackleford, Karen E., Cynthia Vinney, and Kristin Hopper-Losenicky. 2016. “Connecting the Dots between Fantasy and Reality: The Social Psychology of Our Engagement with Fictional Narrative and Its Functional Value.” Social and Personality Psychology Compass 10, no. 11: 634–46.

Goodman, Lesley. 2015. “Disappointing Fans: Fandom, Fictional Theory, and the Death of the Author.” The Journal of Popular Culture 48, no. 4: 662–76.

Jenkins, Henry. 2006. Fans, Bloggers, and Gamers: Exploring Participatory Culture. New York: New York University Press.

McCullough, Hayley. 2020. “The Diamonds and the Dross: A Quantitative Exploration of Integrative Complexity in Fanfiction.” Psychology of Popular Media 9, no. 1: 59–68.

Vinney, Cynthia, and Karen E. Dill-Shackleford. 2018. “Fan Fiction as a Vehicle for Meaning-Making: Eudaimonic Appreciation, Hedonic Enjoyment, and Other Perspectives on Fan Engagement with Television.” Psychology of Popular Media Culture 7, no. 1: 18–32.

[tethrras]

i want to make a hawke who starts out very pro mage rights but after beth dies she starts to go down a pro templar incel conservative pipeline and is like oh maybe mages keep dying because they make bad choices and it's kind of their fault actually ❤️ as a way to reconceptualize her subconscious guilt complex over not being able to save bethany. varric blinks and suddenly he's at the back of the party with sebastian and fenris between him and hawke and he can't remember the last time she spent a night with him at the hanged man

[purgetrooperfox]

Have *you* ever thought about rewriting any of your oc's stories? I only ask because of some discussion about what kind of stories glorify problematic behavior vs what kinds are simply representing complicated dynamics. Do you have any thoughts on it?

well it's tricky because all of my longform OC writing is just in my gdrive and hasn't been seen by many people. but. I've done a few reconceptualizations, I think that's a natural part of the writing process

none of those rewrites or reimaginings have changed the core of any relationships though. the stories I'm interested in telling (for now, if I ever finish) are more about people and their relationships to each other than anything else, so it would feel disingenuous to scrap the entire foundation. Kit and Nocte are fucked up on purpose. they are, fundamentally, an exploration of

what if it can never be perfect

what if we try. really try. and do almost everything right. and it still hurts

what if circumstances will always shove us backwards

what can be overcome? what's worth the effort?

because love for us is something that wasn't supposed to happen. it's something we should have nipped in the bud. to continue is a choice we make, and it's work, and maybe it's doomed to fail. but we make the choice anyway

they're the jedi/clone ship from hell. they're messy and destructive but also compassionate and supportive and all these contradictions because they're people. that's it. they're people in a fucked up situation with a fucked up power differential living in a fucked up time. I'll give you a little spoiler too: none of it means anything in the end. they don't "save each other". so maybe their story is also just about inevitability

I wouldn't change any of that because that rings as true to me. making them fluffier would be dishonest (which isn't to say they're never fluffy, they're fluffy sometimes, but not All The Time). that's life sometimes, babes. you love someone despite it All but the All doesn't just go away because love isn't a magic cure

uhhhhhh. I think the difference between glorifying xyz versus just depicting xyz can be tricky to define sometimes. a lot of it is about intent. a lot of it is about consequences in-story. I also think most people are aiming not to glorify "problematic behavior" and some audiences will pick them apart regardless of whether they actually glorify/glamorize/romanticize it. obviously there are exceptions and that's why there's a conversation to be had in the first place, but generally

all of that being said, OBVIOUSLY no one is obligated to write about darker subjects if it makes them uncomfortable and if they chose to do so, that's no reason to go after them. if you don't like certain topics, don't read about those topics. monitoring your reading is your own job, not the writers'

I don't know if this answers what you asked but here you go

[hwsforeignrelations]

7, 26 for Switzerland, 33, 45?

#7: Food-related headcanon?

America doesn't chew when he eats.

Last night I read @sunnylolli's The Great American Stomachache, and their narration just GAWD DAMN. I think its an interesting take on Alfred's eating eating habits (read it- its amazing).

The first one doesn't really relate to imperialism (its more on the negative impact of capitalism on things like food which require a socialist, regulative approach). Though, it reminds me of AO3 chrysanthemumthrone's A Dying Sun (Chapter 4), and @robinrocks01 Align (Ch 2). These two fics reconceptualize imperialistic greed through hunger. The basic point is: eventually an expanded nation (an empire) doesn't experience pleasure tasting food (maybe cuz their appetites' too large to satisfy if they're chewing), beyond the simple dopamine effect of consumption. It's interesting.

#26: Switzerland's nightcap of choice?

Espresso martini, "Rest is for the weak and the dead."

#33: Who organizes the best parties?

Absolutely depends on when lol.

Gilded age: England. wacking open champagne bottles with rapiers- sort of business.

Now? I like to imagine a big ol retreat into nature where everyone can go berserk for a weekend. So, like, idk, New Zealand? South Africa? Undecided as you can tell haha

#45: Most iconic canon line?

"Any issues?"

"[Insert valid issue]"

"Heard and overruled!" :D

[lichfucker]

also everyone was extremely receptive to my switching us from 5e to savage worlds! I explained how 5e is. not sustainable long-term and that if this campaign is going to have any longevity I need to get off this sinking ship lmao. and that with what I know about them and how they all like to play, and what parts of the game get them the most excited, they will enjoy swade FAR more than 5e.

I told them that we're not gonna switch until the end of this story arc— I don't wanna interrupt shit mid-stream— but zac is so excited abt it that she and I are gonna make hyssop's new character sheet as soon as I get home tonight lmao.

hazel is probably gonna retire sassy and make a new character altogether, one who is more invested in the adventuring life and has more clear external goals. eva didn't say she would drop morada, but given how she has said multiple times that she made a bad choice in playing a standoffish loner type because she didn't know what she was doing, I expect that by the time we actually make the switch, she will likely either completely reconceptualize morada or play someone else entirely

[thedailytao]

Passage 72

When people become overly bold, then disaster will soon arrive.

Do not meddle with people’s livelihood; by respecting them, they will in turn respect you.

Therefore, the Master knows herself but is not arrogant. She loves herself but also loves others. This is how she is able to make appropriate choices.

The last stanza of this passage captures one of the concepts in Taoism that I like best. That is, not just the concept of humility, but a concept of humility that, unlike Puritanical versions of it, isn’t based on self-reproach, self-loathing, or self-criticism. I am often frustrated with people who take that approach to humility, because it’s just another form of self-obsession. Obsessing about how inadequate you are, you’re still focused on yourself and not focused on other people. You can know yourself, acknowledge yourself, and love yourself. The idea is not to not love yourself. That’s not humility. Humility is loving other people just as much and holding yourself in equal esteem to other people.

Self love and humility are not mutually exclusive.

This, when you follow the thread far enough, is the source of what I like to think of as the Tao of Bliss. Because if you strive to hold all of creation in equal esteem, the natural conclusion is that all of creation becomes beloved to you. Think of your favorite place on earth, your favorite food, the best thing you ever smelled, or a song you can’t help singing along to. Taoism says you should love yourself just as much as you love those things. The things that trouble you, you should love them, too.

It’s not easy – not even a little bit. I continually struggle to reframe my unpleasant experiences to this ideal, but at the end of the day, it is deeply rewarding. It’s not about finding a silver lining in bad experiences either, but about reconceptualizing the entire way you perceive them. For those things that were deeply painful, those things that still cause us pain, it can feel almost impossible. I find that, when I’m unable to bring myself to say, “I’m glad that happened,” I can at the very least say to myself, “That event was a part of my life, and I am deeply grateful for my life.”

When it comes to others, it essentially comes down to empathy. That’s why mentioning someone’s livelihood is so important to this passage: reminding us that our actions can affect other people in existential ways, that we should continually consider the broader impacts of our decisions and put ourselves in the shoes of those we’re impacting. Is this impact something I would want for myself? For a loved one? If we aspire to value everyone equally, we shouldn’t take actions against them that we wouldn’t take against our most beloved friends.

[personshapedsplder]

It's my 8 months today and I'm just reflecting a lot. 8 months ago I first began experiencing a sense of peace I don't think I've ever known in my life. Just 8 months of this enormous weight lifted off my shoulders. I've felt alive in ways I can't even describe. There's not one single aspect of my life that isn't vastly improved. I feel so much hope!! 8 months ago I made probably the single best choice I've ever made in my life. And it's only been 8 months!! How much will I have improved in a year? 2 years? When I first began feeling this way I literally didn't know what to do w myself. I felt so much rightness and peace I literally had to reconceptualize my place in the world and realize that like, good things can happen LOL It's been such an eventful year. It's like there was this giant infected hole in the middle of my chest and for the first time ever it's healing. I know I sound dramatic but it rly is how I feel. And now I'm reflecting on it bc its been 8 months now of this hole closing up and I feel GREAT

[starried-lass]

The Zodiacs and Modalities

Concept:

As you get into your astro!studies you’ll come across the modalities and it’ll all click a lot more! But then… you run into more lists. That’s okay though, those adjectives give us words to describe these signs, below we’re gonna discuss how to talk about them.

[As followed:]

Cardinal: Aries, Cancer, Libra, Capricorn

Fixed: Taurus, Leo, Scorpio, Aquarius

Mutable: Gemini, Virgo, Sagittarius, Pisces

Reconception;

Standard Disclaimer: this is not something you should use should try to use to predict the future; I don’t care for divinity. This is using astrology as a tool to reflect on ourselves and how we operate in this world—and how we can do better. I can’t decide what better looks like for you, or your life, but I want to give you some tools to do so yourself. Time to reconceptualize!

The Inaugurated; The Languid; The Fluctuant

[As followed:]

The modality also follow emotional beats patterns. Similar to the way the modalities have cycles, the graph above gives one way to visibly interpret how they do so!

I’ve given the modalities new categories that I think better metaphorically capture their movements and motion of the cycles.

[Cardinal] The Inaugurated

[Fixed] The Languid

[Mutable] The Fluctuant

{Final Thoughts}

We’ve lived so many different lives, done so many different things. No two people experience the same life. Not only that; nothing happens in a vacuum; you are a person in this world and you have to make your own choices. Forget what your chart says about you—what do your actions say about you? The little things and habits you form now are make the person you’ll be several tomorrows now. Is that someone you’re proud of?

[practically-an-x-man]

26, 40

ooh thank you!

26. which movie made you think the most about life?

Ooh, that one's tough! Honestly, I think I have to go with About Time. I'm not much of a rom-com person (like... at all) and I initially just watched it for Domhnall Gleeson, but the third act has this really poignant message about "you don't need a re-do of every day, you don't need to make all the right choices. you just need to live each day like you've already gone back and made those choices, and make a conscious effort to find beauty in what's around you."

As someone who feels like they have way too many hobbies and not enough time on their hands, that message really helped me reconceptualize and slow down a bit - or, if not slow down, at least feel a little less guilt for not having everything done at once.

40. a film you think everyone should see at least once

I mean... if you haven't seen the Princess Bride, there might be something wrong with you /lh

Movie/Film Ask Bait

[deepartnature]

Best Music Arrangers: 20 Artists You’ve Heard But Not Seen

“Any musical composition can be reconceptualized – Franz Liszt arranged his own works for piano and transformed Bach’s organ music – and the best music arrangers in jazz, pop, and rock have become world-famous. (Quincy Jones and Nelson Riddle are just two of the absolute modern masters.) Music arrangers can decide which instruments will be used, which notes will be repeated, and what sections of the music are repeated, and in which order. Their subtle changes to the choice of instruments, tempo, key, or time signature can make all the difference to the success of the final record. Here we pick 20 of best arrangers in popular music over the past century. ...”

udiscover (Video)

[digitalspaceinvader]

How Does it Affect Identity?

Through my research I have found that experience in queer space provides a greater sense of both identity and orientation within it. This assertion is better contextualized through the work of Sara Ahmed in Queer Phenomenology: Orientations, Objects, Others. In the book, she asserts a direct connection between space and orientation, extending this idea further to demonstrate a connection between space and orientation in sexuality (i.e., sexual orientation) as well:

“If we know where we are when we turn this way or that way, then we are orientated. We have our bearings. We know what to do to get to this place or to that place. To be orientated is also to be turned towards certain objects, those that help us to find our way. . .If orientation is a matter of how we reside in space, then sexual orientation might also be a matter of residence…” (1)

She describes the state of orientation as one of familiarity, claiming that familiarity gives the body “the capacity to be orientated in this way or that” (7). And so, orientation within sexuality (or identity) also becomes a matter of familiarity, and the knowledge of the space (of sexuality) around you.

This idea is explored further in the writing of Paula C. Rust, as she investigates coming out and sexual identity formation in the age of constructionism. She states, “It follows that the likelihood that one will perceive a contradiction [in sexuality] depends on the capacity of the heterosexual construct to provide credible meanings for same-sex experiences, the degree to which one’s same-sex experiences challenge this capacity, and the availability of nonheterosexual constructs” (71). Being in queer space and seeing queerness makes these alternate constructs more real, or more available to the viewer. At the same time presenting alternate meaning to same-sex experiences which are given credibility through the personal experience of seeing queerness lived out in front of them. As Rust demonstrates, much of the initial steps towards queerness require self-reflection, with queer events in one’s past only taking on queer meaning in retrospect, giving “evidence” of a queer identity. And as Rust states that sexuality is considered evidence based and waiting to be uncovered, this is likely to be fuel to the fire of any realization that might lie dormant in the viewer. Therefore, experiencing queer spaces makes queer people more likely to ‘realize’ their sexuality. The same can be said for straight people as well, as such experiences providing a lack of queer “evidence” gives credibility to their straight identity.

Situations of this description provide a deeper understanding of queer identities, and so a greater sense of familiarity with them. This is especially true for initial contact, as someone with no experience in queer space likely has preconceived notions of queerness in general. Witnessing queer spaces or interactions humanizes queerness by putting a face to an otherwise faceless identity. The familiarity with queerness and alternative identity categories given by queer space also creates a greater sense of orientation within both personal identity and identity in general, allowing for a more informed choice of which identity category fits best. Of course, queerness is no choice, but there does come a choice in how one chooses to describe oneself.

Rust emphasizes in her work that “sexual identity must be reconceptualized as a process of describing one’s social location within a changing social context” (50). She touches on how sexuality is largely viewed as concrete, as stable and essential. It is not viewed as a process of changing but instead one of discovering, with the end goal of finding an objective truth. This emphasis on finding one true identity, however, ignores the nuance and fluctuation of identity that can occur daily. A great example given by Rust is this:

“A woman who occupies a progressive position vis-à-vis lesbian and gay political institutions might call herself a lesbian when speaking to her parents but call herself a queer when she attends a planning meeting for a Lesbian and Gay Pride March. Her parents have never heard of Queer Nation and would not understand the reference to this branch of sexual politics, whereas her co-planners would underestimate her affinity for other sexual and gender minorities if she identified herself as a lesbian to them. Even though this woman presents herself differently within these different contexts, she probably does not feel that she is misrepresenting herself to either audience. On the contrary, she is merely using the language that most accurately describes herself within each context.” (69)

As demonstrated here, your identity can be altered simply by the (social) space you encounter, especially apparent in the dichotomy between straight and queer space. This allows possibility for the inhabitance of multiple identities, or as Nico Dacumos calls it, mixed consciousness.

In “All Mixed Up With No Place To Go: Inhabiting Mixed Consciousness on the Margins”, Dacumos describes a life of not fitting in and of never finding the elusive “true” identity, instead flitting between identities depending on those that surround them. They describe using their given name around family, feminine pronouns among butches of color, and masculine pronouns around trans men (23). With so many identities pulling them in all different directions, Dacumos’ response was, in their own words:

 “So I stopped trying. I also stopped trying to like just girls or just boys. I even stopped trying to like just one girl or one boy. I stopped trying to be just a girl or just a boy. Or a transboy or a butch girl.

This is mixed consciousness, friends. Coming soon to a cultural studies class near you.” (27)

While the exposure to identity categories inherent to queer spaces can provide a line of best fit, each option can still fail its occupant. Demonstrated in Dacumos’ case, this provides the ability to not only move between identities, but to transcend identity altogether.