#qiptext

[oseaflower]

mini analysis on babel stage maps

title: stage description

my thoughts

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

BB-1 Great Aspirations:

I knew this day would come.

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

BB-2 Where Fate Guides:

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

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

BB-3 Silent Crack:

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

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

BB-4 Long Voyage:

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

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

BB-5 Fires of Uprising:

Some Sarkaz continue to seek a path of peace.

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

BB-6 Flickering Light:

The banner of war flies high in the distance.

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

BB-7 Rising Shadow:

I see the Sarkaz’s desire for vengeance.

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

BB-8 Final Countdown:

If this is your choice…

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

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

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

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

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

BB-EX-1 Pack Up:

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

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

BB-EX-2 Held Breath:

Sarkaz will render judgement with war. We are strong.

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

BB-EX-3 Severed Horn:

From betrayal, vengeance. From destruction, rebirth.

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

BB-EX-4 Wrapped Shroud:

Violence is the only answer to hatred.

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

BB-EX-5 Through the Wilderness:

Some Sarkaz continue to reproach their king.

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

BB-EX-6 Over Obstacles:

The roar of war echoes in the distance.

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

BB-EX-7 On the Ship:

I hear the Sarkaz’s call for love.

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

BB-EX-8 Towards Death:

Goodbye, my enemy. Goodbye, my kin.

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

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

[oseaflower]

Specter Module - Dim Candlelight

So my dear friend @orpheusfumi and I were discussing Specter's module story, and I thought it might be good to collate our thoughts and interpretations. Neither of us are meta/analysis writers and I would say these are personal impressions more than anything, so if others have additional/differing opinions do feel free to share :)

We'll start off with the module text and what it says quite plainly, how we interpreted that, possible symbolism and alternate interpretations, in that order. Screenshots are courtesy of the akgcc story reader. If the image descriptions or images themselves are hard to read, please make use of the link. The rest is under the cut. It is quite long.

The Module (Basics)

Right away, we can glean that the candle holder is metaphorical. The Medical Department operators did not give it to Specter, and though it is a "vile gift" that "should not be here," she clutches it tight nonetheless. We'll return to the candle holder at the end, because it can be taken in different ways.

The Rhodes Medical Department operators are the ones attempting to heal her ego, which would directly relate to bringing Laurentina back from within Specter. As they are healers attempting to help, they would not be the ones to bring this "vile gift." Interestingly, in the JP ver it isn't called vile but in bad taste (悪趣味なプレゼント

Another possible interpretation with the EN usage of 'vile' is that Specter's train of thought is interrupted, and the last 'they' refers to the Church of the Deep cultists; while things given by Rhodes are by default taken to be 'vile' in a way. Aligned with the Church, she would not consider any of their gifts to be bad; and with the effect this candle holder has on her later in the module, it can be likened to the anti-psychosis medicine or whatever other treatment that Rhodes is helping with, and vile by association with them.

Interestingly, in the JP ver it isn't called vile but in bad taste (悪趣味なプレゼント), which reads much differently than 'vile' imo, and also clarifies that she didn't think anyone from Rhodes brought her the candle holder.

Again, a candlelight that one can touch and feel no warmth from is likely either a hallucination or signals that something is very wrong with one's senses (with Specter's profile information, this may also hold true, but within battle). In this case, as no battle is taking place, we can assume that it is a hallucination of sorts, a metaphor for something deeper and related to Specter's psyche: touching it beckons a "momentary lucidity and tranquility." Her throat, too, is not cut open where she is physically (likely in her own bed at the treatment ward) but we can assume that she feels a pain akin to that of her throat being cut open, or memories of the same surface. The candlelight can be seen to have had an immense effect on Specter to make her experience - or indeed relive, through memories - things on this scale. "Zealotry" likely relates to the Church of the Deep, in the darkness, which stops screaming to her in this moment when her nun's habit is set alight.

This part can be interpreted a couple of different ways, but let's return to it in a bit.

Through the candlelight, which has been established to be something that Specter saw as vile but important (from the way she clutches it), and has an incredible amount of effect on her, Specter "looks within." She sees Laurentina. This can be taken as a change of perspective as well, with Laurentina winning over Specter and experiencing her own memories, but the important takeaway is that Specter is present as the one looking through the candlelight, and still the one who 'sees.'

The description 'Stygian' has been used in a couple of places (if I remember correctly, very briefly in Phantom's vignette in Rewinding Breeze and Whisperain's promotion 1 dialogue), and straightforwardly relates to the Iberian sea. This can be taken two ways - one of Laurentina sculpting, and the other is her fighting the seaborn the same way she makes her art. We are inclined to believe it is the former, because the "figure freed from raw stone" part directly could relate to Laurentina having carved out a figure out of stone, which is the statue she stands before. The use of "chisels," an act involved while sculpting from stone, invokes the same act of sculpting. In the "alcove," the place where the shadow of the statue falls, is Laurentina's workplace.

This shadow is likely not a literal shadow, since Specter the Unchained's archive 3 and her oprec talk of a "snow-white sculpture," an "eternal giant," that made her realise what true art and beauty was, and the statue found a home in her heart (enough to be a 'shadow'), inspiring her to become a sculptor. So it isn't something Laurentina herself made at all (she was only ever an apprentice, and in the oprec talks about how hard it would be to make a large sculpture in Aegir).

This part is more clearly about Laurentina as an abyssal hunter, and the hunters battling their seaborn enemies. With the mention of singing, we can assume it's likely the fateful battle against Ishar'mla...

...and after, Laurentina getting captured and experimented upon by the Church cultists. The statue weeping behind the candle holder, a candle holder which is likely not real, can be interpreted as relating to Laurentina's mental state and Specter visualising it.

Specter slicing apart Laurentina refers to the birth of Specter's persona, her ego that rends Laurentina apart in a way different to the physical slicing and mending. Laurentina's love for art, her sense of self, gets discarded (shown by the weeping statue), and "the seeds of dry land take root within her body" (originium), so she becomes infected. This is important as this is something that Specter, a personality that protects Laurentina's mind, cannot protect their body against. All she can really do is pray, and in this there is some common ground, with Laurentina's memory of the statue that inspired her to sculpt likened to "prayer" and "hope" in her oprec, and Specter's own actual prayers understood by none.

Specter prays as she appears to 'recall' this, because it may come with the realisation that the Church of the Deep used Specter to completely replace Laurentina, Specter's 'zealotry' (becoming a nun) replacing everything that Laurentina was.

And finally, the candleholder is struck down, melting into the lights of the corridor. We are back in the physical space of the treatment ward. Orpheusfumi said this part is likely when Gladiia came into her room, possibly at the start of Under Tides, and took 'Specter' away, allowing Specter to dream peacefully.

Interpretations

Now, returning to the second image.

"A momentary lucidity and tranquility race ashore like foam. The edges of the waves[...]"

In Specter the Unchained's profile archive 1 and first oprec respectively, we learn how the tides of her hometown helped her gain her memories back, and that being close enough to the sea to hear and smell it keeps her stable. The "edges of the waves" in this module, then, likely relate to the reawakening of Laurentina that accompanies and is expressed by the water racing ashore; the edges are the fluid boundary between Laurentina and Specter. The more the waves encroach on the land, the stronger Laurentina's presence seems to get. The sea also extinguishes the zealotry instilled in the nun Specter by the Church of the Deep. The sea and waves in the module, then, can be interpreted as Laurentina's consciousness. At the end of the module, "a familiar scent," likely refers to the smell of the sea brought in by Gladiia. Specter's nun habit is set alight as Laurentina stirs to consciousness, but Specter is not yet gone, because she looks within at her memories through the candlelight.

The candle flame is a medium, a sort of in-between for Specter to look at Laurentina, her other half. When Laurentina's memories are explored it is not yet that Laurentina surfaced immediately (there is likely no binary switch between one or the other), it is that Specter is looking within at Laurentina, at her memories, as Laurentina regains them in the process of waking up. One needs to remember oneself before one awakens. Like the ebb and flow of the tides, Laurentina and Specter's conscious pushes and pulls, and the candlelight is the space in between, where Laurentina's memories can be seen by Specter. It is a sort of 'conversation,' without many words, where they seem to reach a sort of understanding.

The module, overall, is quite clearly about them becoming one, but this is just one of the ways you can see the process of acceptance of the self. Orpheusfumi said it could be the moment referenced in their skin description:

"When both are aware of their dual nature, Laurentina possesses a soul most complete, like unto the twin moons."

Hereafter we get into different interpretational territory, regarding the symbolism of the candles and the candleholder.

Perhaps the candles here are Laurentina's mind and soul. Specter clutching the candleholder tight may refer to how she was born to protect Laurentina (the candles). Who 'has' the candle holder and who 'is' the candle changes in the module, and the candle holder appearing when it isn't supposed to is a sort of indication that Specter does not understand why Laurentina is awakening when she isn't supposed to. Typical depictions of candle holders often have three candles, and at the end of the module Specter refers to herself the 'fourth flame' burning atop the candle holder. If we go by the three candles theory, Specter is an anomaly - id, ego, superego and Specter. Or perhaps Laurentina's mind, soul, body, and Specter's mind. They share the other two.

It is also worth noting that while the candle holder is struck down at the end, the flames do not go anywhere - contrarily, they become the lights of the corridor. This can be interpreted as the flames that are Laurentina, once restricted to the candles of the candleholder which hardly ever appears (much like Laurentina's mind herself, usually not there at all) now shine bright throughout the space Specter can perceive, and Specter is now on the candleholder. The flame (Laurentina) becomes, wakes up, no longer needs the 'protection' of the candleholder. Thus, when Specter was looking within, through the candlelight, she was finding Laurentina, her memories, inside herself and the body they share. As Laurentina wakes up after so long, she recalls her memories, and Specter views them with her. If you view them as a system, then whoever can view the candles can be said to be fronting, and whoever is one of the flames is not.

The titular dim candlelight is then the previous dimness of Laurentina's ego, which is now lighting up everything.

...Alternatively.

The candle holder could be related to faith. Not exactly the faith that was 'given' to Specter by the Church of the Deep, but the faith and hope that allowed her to survive, her own understanding of faith. It could be similar to how people light up candles during prayer at Church (another friend was reminded of the Paschal candle - where the light of the candle is life, dispelling darkness which is death). This can also be why it is called a "vile gift" (or in bad taste, because it reminds her of her time in the church).

Specter "clutches the candle holder tight" towards the start of the module, holding onto the faith within herself because it had let her survive thus far, and it forms the foundation of her willpower. In the module we see her interpreting it and molding it to accommodate Laurentina first and foremost. Specter's faith is an abstract concept that calms her down and gives her strength in the present (the repeated mention of her praying in this module); it is what lets her hold onto the self and protect Laurentina. At the same time, the origin of this faith - the Church of the Deep - was what split them in the first place. I think the "liturgical meanings discerned by none" part can (aside from the fact that it might just be there's no one from the Church of the Deep in immediate vicinity) allude to the fact that her prayers here in this module are not the Church's prayers; they're her own and thus cannot be understood by another: her form of faith is her own. Specter's trust 2 line, shows that she has her own view of understanding the Church's teachings as well, and can be interpreted as her cutting the seaborn is what she thinks gives them salvation, and this logic is how she retains part of Laurentina's identity as an abyssal hunter opposing the seaborn.

Then, the mention of zealotry could be taken as the hold the church's belief had on her, and "scorched sun-dry in darkness" could refer to how this very faith, the candlelight, was what scorched her. The candlelight was so strong it overwhelmed and scorched the person that was (Specter replacing Laurentina). And now that Specter faces this faith again, looks within, she comes to terms with how it came about, and makes this faith her own through confronting it. Introspection that makes one reevaluate their faith, if you will.

This zealotry is snuffed out when the waves (Laurentina) wash over her. The flame burns away her nuns habit, as her faith is not tied to the church but to Laurentina. Laurentina's memories while she wakes up, which Specter looks at through the candlelight which is as her own faith (emotions? will?) that leads her to protect Laurentina. Through these memories, Specter remembers the origin of the faith that she made her own and how it was used to hurt ("slice apart") Laurentina in the first place, and prays.

At the very end, this time when she looks within, Laurentina is awake, and looking 'within' is actually looking outside through Laurentina's eyes at the treatment ward. Looking 'within' for specter is simply looking at her faith, at Laurentina.

This is just an alternative interpretation which is probably not too strong unless you subscribe to the idea that "Specter is devoted to Laurentina in a manner that can be parallel to a nun to her faith." And similarly, orpheusfumi and I agree that Laurentina is also devoted to Specter the way an artist is to her art, and wants to understand her in the same way. Their love for each other can be likened to devotion, but in different forms, because they are different people.

[oseaflower]

https://www.reuters.com/investigates/special-report/usa-covid-propaganda/

it's what we're seeing with pro-israeli/anti-hamas propaganda now too. if they didn't care then they won't start now regardless of how many people die. the ban on tiktok after they couldn't control the algorithm well enough, then blaming it on 'China' is just one face of that (user information security does not matter when a US-owned company does it, but it is a primary concern if China).

[oseaflower]

important:

🥴 the company training AIs without a regard for ethics acts without regard for ethics

[oseaflower]

id be short tempered too if i were balding

[oseaflower]

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

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

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

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

Now for the stage descriptions!

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

this is lent weight to by these medal descriptions.

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

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

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

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

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

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

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

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

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

mini analysis on babel stage maps

title: stage description

my thoughts

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

BB-1 Great Aspirations:

I knew this day would come.

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

BB-2 Where Fate Guides:

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

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

BB-3 Silent Crack:

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

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

BB-4 Long Voyage:

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

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

BB-5 Fires of Uprising:

Some Sarkaz continue to seek a path of peace.

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

BB-6 Flickering Light:

The banner of war flies high in the distance.

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

BB-7 Rising Shadow:

I see the Sarkaz’s desire for vengeance.

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

BB-8 Final Countdown:

If this is your choice…

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

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

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

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

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

BB-EX-1 Pack Up:

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

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

BB-EX-2 Held Breath:

Sarkaz will render judgement with war. We are strong.

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

BB-EX-3 Severed Horn:

From betrayal, vengeance. From destruction, rebirth.

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

BB-EX-4 Wrapped Shroud:

Violence is the only answer to hatred.

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

BB-EX-5 Through the Wilderness:

Some Sarkaz continue to reproach their king.

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

BB-EX-6 Over Obstacles:

The roar of war echoes in the distance.

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

BB-EX-7 On the Ship:

I hear the Sarkaz’s call for love.

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

BB-EX-8 Towards Death:

Goodbye, my enemy. Goodbye, my kin.

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

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