The Central Nation of Kielce - a History
[I/D : Screenshot for Sissia of the Central Nation showing Levi, Adra, and Crowley on the wall. Crowley is saying "Hahaha! How have you been, little wall?! It’s like you’re a part of our origins!"]
Having now read through every route's game script of the Central Nation of Sissia, I figured I'd tried to put together all the Kielce lore across the different routes into one. If you want to read them yourself, you can do so either on the game menu if you've finished the game, or [here].
This will contain details unique to most of the routes, so technically, there are spoilers, but they are discussed entirely within the world of the play. I will edit in a few minor clarifying details with no route plot information from routes as I find them now that I'm going through things with a finer tooth comb.
It will spoil some things that are in the stage script only epilogues too, so please read at least one of them before reading this, or you'll be really confused. Two, ideally, especially if the first one you picked was Crowley's.
Don't ask me why a rather big piece of character information, that is kind of a twist, is hidden within epilogues only on the stage script in the menu. We're nearly the full year into Havenna Lore drops, apparently this is just how Neji writes. (And given all the lore hidden in weird bonus material, also how Ishida and Towada write.)
The Nation of Arbine and the Republic of Quatra, which is to its east, were at war for 77 years. Many lives were lost on both sides, and there were plenty of children made orphans in the process. We know little about Quatra before the end of the war, but Levi describes it as having "warmth" and Crowley says it had a very strong culture in the arts, including song and dance. After Arbine wins the war, 20 years before Sissia joins the troupe, Arbine begins calling the 77-year-war the 'War of Joy.'
They force the people of Quatra into servitude, build a wall around the country, and mark them with a tattoo of a horse on their shin. The hostility gets so bad in the upper military ranks of Arbine, that they begin calling Quatra "the nameless country" or "the nameless servant country." The culture of Quatra is stamped out within the nation, possibly beyond simply forcing everyone into labor for the sake of Arbine, and anyone in Arbine who even discusses it with anything but scorn is suspected of treason.
Arbine is ruled by its "commander and king" (always said together like that) who has the surname "Arbine" like the nation he rules. His top advisor, confidant and strategist is Major Azur Hybird. The military elite make up the aristocracy of Arbine, and their positions are expected to be passed down.
Arbine is a strict military state, with border patrols and street patrols in addition to a standing military that citizens are quite acquainted with. They are able to freely interrogate and detain anyone, but murder seems to be considered a crime in Arbine, regardless of the nationality of the person killed, even, seemingly, for low ranking patrol officers. (We only have Crowley's potentially joking word here, though). The high ranks can order and carry out death sentences sans trial of any kind, of course.
The military aristocracy is also the high society of Arbine, and they attend parties and engage with what they consider 'high culture' including national dances - Arbine does have a national dance troupe.
Arbine's language is called "Arbine". It appears to be different than the language of Quatra or at least a different dialect, though one suspects they have some degree of mutual intelligibility. Carlo says the further east one goes in Arbine, the simpler the pronunciation of its language gets. Accents are shared to some extent in the border region, as well as words. Carlo says Arbine has 'a certain roundness' and that the first letter of Carlo is pronounced 'more elegantly' than Sissia's accent usually does.
Carlo illustrates the linguistic drift with the word Kielce - which is the Arbine term for Circus, a word used in Quatra. Carlo says no one but a historian or a suspected traitor would know that word these days, so maybe once it was also used in Arbine, or maybe a historian would merely be more familiar with the arts from Quatra.
So, 20 years ago, the war ends. As for the future members of Kielce at this time, Chance, at least, wasn't born yet.
Levi Caineman, who was born to Arbine parents, was orphaned by the war and was taken in across the then-wall-less border when he traveled there in search of food. Once the war ended, he was taken into an orphanage on the Arbine side of the wall, while his foster mother, a Quatra, was left behind it.
At some point, Levi will meet Crowley. Crowley is, though it's unclear who knows this but him, an illegitimate son of the 'commander and king' of Arbine, so his full name is, in fact, Crowley Arbine. It's never explicitly stated in the play if Crowley creates Kielce as a troupe or not, or the origin of its name "The Central Nation of--" but in the practice dialogue it is confirmed that Crowley and Levi are the founding members of the troupe.
As for when it was founded, Crowley considers the first Border Performance, which takes place ten years before the present of the play, and thus ten years after the end of the war "part of our origins." It is likely the name, too, partially a form of protest. Given the troupe's founders - an openly avowed revolutionary with a personal connection to the throne, and a fascination with Quatran arts, and an Arbine boy raised for a time by a Quatran foster mother, I'm sure this was very much part of their motivations.
Crowley is, after all, enthusiastically a traitor. (He maintains everyone in Kielce knows this, and no ones statements fully discredit that assertion in other routes. No one ever quite says the first performance WASN'T an act of rebellion or treason.)
Crowley says he's the one who brought Levi in and raised him up to be ringleader. At some point, Kielce, including Crowley and Levi, ends up performing at a party for military aristocrats. How this happened or how it went down, we don't know, other than apparently everyone was thoroughly amused. At this point, they aren't suspected of anything treasonous, but are considered 'low' entertainment.
In attendance is Major Azur Hybird's son, Adra Hybird. At this point, Adra has already been dancing for most of his life. It is unclear how old he is. But he decides that this is the kind of dancing he wants to do. He leaves the life of a Military Aristocrats son behind and runs away to join the circus -- Kielce.
(It is not implied Adra is younger than the other two - on Levi's route, Adra remarks that Levi has grown into quite the man, which, if anything, implies Adra may be a bit older than Levi.)
By the time of the first Border Performance, which is ten years before the present, Adra is a well established member of the troupe, enough that he is involved with choosing to do it. He seems to be one of the senior members in the troupe.
Fan Carlo Albus, on the other hand, is a newcomer to the troupe ten years ago. It seems she joined enough after Adra that she's talked about as another sort of 'generation' - when talking about Kielce's style being a talent showcase, Crowley says its more pronounced now that Carlo and Chance have joined.
Carlo watches the border performance from the side, not on the wall. Also watching that day is Isaac Bazmaz, an Arbine child from the border region who lives near the wall. He is watching with a friend of his. On Isaac's route this friend is explicitly Sissia, a girl from Quatra who he met through a crack in the wall. Isaac talks about the wall as having always been near his house, suggesting that he is under 20 years old, or at least, not much older. Chance Orlando, as stated, is under 20. He doesn't watch the border performance, but hears rumors about it as a kid in Arbine that later inspire him to join.
Crowley is one of the leads in the performance, which he also wrote. This is, to him, intentionally an act of rebellion and revolution. The fact that it doesn't overthrow the nation makes it kind of a failure in his book. Adra says his motivation is sort of to stick it to the military aristocracy and their backwards ideas, both about Quatra and discrimination and their authority and control in general. Adra is also quite annoyed at their elitism. Levi doesn't give an explicit reason for it the first time, but when asking to do it again, he mentions love of theater and love of freedom as absolute principles he leads Kielce by. One imagines his foster mother on the other side is a motivation, as well.
The performance is seen as treasonous and puts the entire troupe on a watch list. According to Major Azur, the 'commander and king' of Arbine has pushed to imprison everyone in the troupe since that day. (It is completely unclear if either the Major or even the 'commander and king' himself have any idea who Crowley is.) Every member who was around at the time tells Sissia that it was quite the controversy and ordeal, and caused a lot of trouble.
Isaac makes a promise to his friend to one day stand on the wall with Kielce together. Sissia, watching from the Quatra side, is already being forced into labor, despite seemingly being a child. Sissia dreams of one day standing on that stage, too. Both Isaac and Sissia will eventually follow that dream to Kielce.
It seems that despite the displeasure of the ruling elite, Kielce continues to operate and have many fans. Their popularity is seen both as a threat, and, one assumes, a bit protective, as it's quite clear that Arbine is aware of the precarity of it's absolute control.
Adra notes that even members of the military attend the shows. Not all the fans share their ideals, of course, and will report things to the authorities.
Kielce has a standing theater within Arbine, but their base seems to keep a very 'traveling circus' aesthetic. It is possible they are both a traveling company and one with a home base. It's unclear when this was built.
Chance and Isaac are recruited the same day by Crowley. Isaac says that if it weren't for Kielce, he'd 'still be working at a factory'. They are still considered relative newbies by Carlo by the time Sissia is recruited, but they seem to have been around long enough to be pretty established as staples of the troupe.
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Introducing: Sanguine
Sanguine has been sitting on the back-burner for a while now, but since I started this account I decided that it was probably the best way to start off!
The idea at the center of this all is looking at the trope of vampirism in a different light. Not just humanizing it, which has definitely been done before, but extrapolating upon the actual effects of vampirism as a whole through the lense of modern medicine. When I first had this idea, I kind of toyed with it for a bit, then forgot about it. When I found it again, I proceeded to spend an entire day researching so that I could create an in-depth document that outlines symptoms, causes, and transmission.
That being said, trigger warning! Lots of blood related talk and medical topics, since I know some people are sensitive to that.
To better summarize over four pages of writing, vampirism, formally known in this story as called the Sanguis Endogenus Retrovirus, is a blood-transmitted disease, like malaria or Hepatitis B/C. However, its usually spread through animal hosts. Within nonhuman animals, it's functionally inert, but when the virus finds itself in the bloodstream of a human host, it begins to make copies of itself and insert them into the hosts' genome, causing mutations. Some key aspects are that the human host is essentially mutated to spread the virus, whether they wish to or not:
The salivary glands produce even more copies of the virus, as well as draculin, the anticoagulant (blood thinner) found in the saliva of real life vampire bats
Teeth undergo a process similar to tooth growth in shark, and are able to be replicated if lost
Muscle mass increased, though through the same chemical process seen in muscular hypertrophy (the overgrowth of muscles)
The immune system becomes even tankier, as the virus attacks any other foreign bodies to maintain control
The eye changes to be able to see more UV light than average
On one hand, a lot of these seem like they'd buff an infected person, but the "pros" (if you can even call them that) are significantly dimmed when you take into account the cons:
A lot of traits consistent with sickle-cell anemia like fatigue, dizzy spells, weakness, and paling of the skin become chronic
The stomach, kidneys, and bladder all mutate, making the host unable to consume plant matter (aka become an obligate carnivore), while still being able to survive the resulting increase in protein and iron
Eyesight in daylight grows increasingly more sensitive, to the point of migraines
Skin blisters in any kind of UV light, and takes even longer to heal than average burns
Can cause effects like coughing up blood and frequent nosebleeds, which can lead to further exacerbation of the anemic traits mentioned before
The glands that produce adrenaline begin to work overtime, alongside the amygdala, which controls survival instincts and causes extremely heightened levels of anxiety and paranoia
The body requires much more sleep than before, up to 18 hours a day as a means to compensate for the energy needed to sustain the body and the virus
Overall, it becomes something of a very aggressive chronic disease rather than the Twilight sparkly vampires or demon-like Nosferatu equivalents. And because it's remains dormant when inside of animals, its hard to predict or contain the disease. However, the upside is that it is incredibly rare yet fast-progressing, meaning that "damage control" is often able to be conducted early on.
By "damage control", I mean the general detainment and capture of people who have contracted vampirism and the overall proliferation of an intercontinental conspiracy to suppress the existence of the disease from the public.
So, like with everything, the government(s) are in on it. And they're not afraid to commit crimes against humanity to keep the social order in check.
This brings in the Seward Institute, a medical research and technology company that specializes in blood-related diseases, developing treatments and medical technology, all while beneath the surface performing (wildy unethical) government-funded studies on individuals infected with vampirism.
Because of their massive global influence, medical technology (and the medical field overall) have gained an even higher status, and STEM research within colleges has increased tenfold. Seward hands out internships to those who seem promising, and this is exactly where we find one of the main characters of the actual story behind this project.
But that's for another day :)
I gotta keep some kind of other content to show you guys for later. Can't reveal all the secrets at the very start!
I'll keep on posting more as we go, so tune in!
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five's character suddenly makes a lot more sense when you look at it as a metaphor for a kid indoctrinated into an abusive evangelical church, who has been convinced that hell is real.
[longpost, talk of religious abuse--mainly the evangelical christian variety--after the cut.]
he's convinced that everyone who doesn't comply with the church's rules will go there; that leaving won't save you, because hell will be waiting for you in the end; and that everyone who claims to believe differently is lying and knows better, they're just pretending they don't because they don't like the idea of acknowledging authority in the time they have before hell catches up to them. and as much as he's been taught to be self-righteous and unsympathetic about people who '''choose''' hell, in practice he's the kid who goes around trying to have the 'so have you accepted jesus into your heart' speech with everyone he even remotely cares about, and won't back off about it even though it goes over Absolutely Fucking Terribly and he's being an asshole, because if he doesn't get them to convert when (he thinks) there's any chance they might have done so they will go to hell and it will be his fault.
and like, this adds a lot of layers to his hatred of nine and what he thinks (and in some ways is correct 🙃) that he stands for. but one of the big ones is that as far as he's concerned, nine can and will snipe people to send them to hell out of spite for converting to save themselves. one of the things that made him hate him so much--decide he Needs and Deserves to Die--is that he was told sandor made the decision to comply with the mogs because it was the Smart Thing to Do... and that nine punished him for it by murdering him brutally. and that given half the chance nine would do it to him.
for all he's been indoctrinated to value Having Power Over Other People and Deserving It Because You're Special, at heart five has major just world fallacy going on because he desperately wants to believe that everyone can be safe, and happy, and understand each other. that all that needs to happen for them to have that is to make the right choice. he doesn't actually believe the mogs are inherently Superior; he thinks they have the same fair shot as everyone else and that the only difference is that they will take that shot, and are honest that they're doing so.
whereas what is one of the other big things he hates nine for? the one that fills him with so much rage he has to stop reading about him? the idea that nine is inherently superior to him and the others, and deserves a better life, regardless of any choice they ever could have made.
he's told that the elders saved nine for last because he was strongest, and that the earlier numbers were cannon fodder because they were weak. he's told that he and the lower numbers were forced into hiding, made to suffer, to buy nine a little more time. and he's told that in the event he managed to survive that far, he would be nine's inferior--his servant--because he's a lower number.
five talks about how he's superior and deserves to rule everyone else because he has 'potential,' but it's not about how powerful he is because of his legacies; it's that he thinks he's willing to make the right choice. he thinks the idea of treating someone like they don't have a right to that choice because they're inherently worth less than others is absolutely fucking repugnant. and where the mogs get him is by twisting his idea of what constitutes Everyone Being Happy so far that they convince him their cause, which is doing exactly what he hates most, is the one that's fair.
add onto that that he's terrified of the idea that you can in fact just be completely fucked no matter what choices you make, and just gets more and more invested in coping via denial the clearer it becomes that he is the one who is utterly royally fucked no matter what he does, and... well, you get some real unfortunate end results to say the least. but like, that's where he's coming from.
so to wrap this back around to the evangelism metaphor: if you believe what five believes, the idea of someone being willing and able to do what nine does by sending someone to hell regardless of their own choice would be Existentially Horrifying to begin with! but it also goes against one of five's deepest core beliefs, both reasonable and Unfortunate Coping with Trauma. and when you pile that on top of the immense suffering he's gone through over it, the result is going to be visceral burning hatred.
anyway this post is already Long and i've got a lot more thoughts in me about it, but suffice it to say five absolutely is a metaphor for evangelical trauma, and how victims get weaponized into extensions of their church's abuse. and it's an evangelical survivor's nightmare, because the version of hell he's been taught to base his entire worldview around fearing is objectively real. 🥲
(the real smoking gun here? not only is the Great Book a really obvious analogy for the bible, but the name is a retcon. what was it called before that, while he's evangelizing about it no less?)
(the Good Book.)
(welp.)
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