Alice has apparently been working on building up her Arcane background, so she's probably difficult to locate. Though not to the degree that people just spontaneously forget about her, which is good.
 
[X] Jamelia's daughter is Alice Aristide.
[X] The security codes to the LA Construct
[X] Serafina is a Suicide Risk.
 
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Is there any chance that Stephanie Catherine can just make shit up such that a Corr/DSci teleportation of the noob to safety is both Consensual where the noob is and not vulnerable to troll-casting by any observing Threat Null spirits?

She could teleport Chibimelia to safety, yes. The problem is that doing so would be relatively difficult without a willing target and might lead to Jamelia's position being localized. Or worse, it might lead to other people finding her. Right now, nobody imagines that the friendly and enthusiastic waitress who dreams of bigger things is actually Jamelia "I am a bitchy old woman" Belltower.

Also, it means we can't make Terminator jokes.
 
Incidentally, the Donald option may bite Clock in the ass, because I50b3l probably isn't aware there's a clone of Jamelia running around, and she isn't going to believe Clock telling her she's 'just a clone' and 'they're on the same side' if she runs into her.
 
Incidentally, the Donald option may bite Clock in the ass, because I50b3l probably isn't aware there's a clone of Jamelia running around, and she isn't going to believe Clock telling her she's 'just a clone' and 'they're on the same side' if she runs into her.
Confusion to all enemies!
 
[X] Jamelia's daughter is Alice Aristide.
[X] Serafina is a suicide risk.
[X] Donald Sykes has done Reality Deviance in London in the form of EDE-binding.
 
[X] Jamelia's daughter is Alice Aristide.
[X] Serafina is a suicide risk.
[X] Donald Sykes has done Reality Deviance in London in the form of EDE-binding.

[X] What was Jamelia Belltower's birth name?
--[X] Write-in: Joumana Besharra
-----[X] And what's her story?
-------[X] Write-in:
She has no story. She's no one special She's just a young woman working for her pay in Beirut, orphaned at a young age and left at a charity's doorstep. She's a little lucky, but that if by the favor of Allah, and not because she's anything unusual. The occasional flickers of vague recognition of more interesting patterns and openings that she sometimes perceives are things anyone could notice if they just looked.
Right now, nobody imagines that the friendly and enthusiastic waitress who dreams of bigger things is actually Jamelia "I am a bitchy old woman" Belltower.

Also, it means we can't make Terminator jokes.
:( Killjoy! And Jamelia's not a bitchy old woman! She's just realistic and ...experienced! She's just more mature than cheery young goofs like Sykes or children of the 90's like Rosario!

[X] Further infuriate Henriette-A.
-->[X] How?
-----> Fark....I'll have to think of something. But enraging Henrietta is always worth it. See if we can make her truly blow a fuse.

EDIT:
-> [X] Monster Movie Marathon Message

Works for me!
 
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Yeah, working the "further infuriate" plan sounds good for now - we want her really steaming before we make a move on her.

Hmm.
 
You've significantly changed the future, you know. Or rather, your present. Fewer Agents running around on Earth, fewer secret Panopticon bases. More Void Engineer secret bases.

Oh, and Jamelia may have had more time to explore her past and previous assets, which meant that you may have had a few more butterflies. I may put those up for voting when I figure out a nice spread of what these consequences might be.

Needless to say, the personal consequences Jamelia Belltower have suffered are minimal compared to the massive benefits of Control no longer knowing about a bunch of secret assets it could have reactivated.

Then...why do I feel like we're such bad people :V.

More seriously though I think this is...dunno a good lesson in what MJ's been saying. Jamelia's not a good person. She's not even a bad person. Both of those imply a degree of, y'know, personhood to them. Which she was once upon a time but at this point has been broken and reshaped by powerful people and her own experiences and actions to the point that in a lot of ways, a lot of very important ways, she's a sharp dressed monster in mirrorshades.

She/we used someone's body as a puppet and then set them up to die and our major regret is that they didn't die in a way that was convenient for us. The only reason we're not totally irredeemable is because we've got the whole "It Was Necessary" thing going on. "It Was Necessary to Save Earth". "It Was Necessary to Hurt Control". And...dunno as long as we keep leaning on that we can do all the bad things we like so long as they serve the cause. And maybe that's not a good way to the be. If the best way to fight Threat Null is to become exactly the kind of monsters they are then...what's the point? What're we fighting for? All the people whose lives are bettered by what we do? We'd kill any one, any ten, any thousand or a hundred thousand or a million of them if we had to.

Dunno. Maybe it's worth it to IC take a step back and take stock of ourselves. Of who we are and who we want to be. And maybe consider that the options that come most naturally to us aren't necessarily the best ways of resolution.

[X] Jamelia's daughter is Alice Aristide.
[X] Serafina is a suicide risk.
[X] Donald Sykes has done Reality Deviance in London in the form of EDE-binding.

There's no real way to recover from losing IBM. To make up the ground we'd lose by exposing one of the most powerful anti-Threat Null assets to Control's agents and the political fallout. And all the command codes feels kinda impersonal you know? I mean yeah the Amalgam's sorta Jamelia's baby and losing it would hurt horribly but more in the conceptual sense you know? Jamelia doesn't really know everyone under her command as a friend and as a loved one.

Also I'm just, like, not all that inclined to Red Wedding all the interns.

So that just leaves hurting her through the people she actually cares about on a personal-ish level. And Alice has the neat two-for-one of being Jamelia's last connection to the good memories of Starling as well as being, in and of herself, the one person Jamelia might burn the world for. Losing her's like losing him all over again except even worse.
 
Yeah, working the "further infuriate" plan sounds good for now - we want her really steaming before we make a move on her.

Hmm.
"What's the matter? You look like your mom got squished by mecha. She told you your sister's way better than you before she got offed? Your boss thinks you inferior? Don't fit in?"
 
"What's the matter? You look like your mom got squished by mecha. She told you your sister's way better than you before she got offed? Your boss thinks you inferior? Don't fit in?"
Yeah, we want to further infuriate her without giving away our presence for as long as possible.
 
I think we've done everything we can to infuriate Henriette-A on this battleground. But this isn't the only battleground. Think of who she is, and what she is. She's the guiding intelligence behind the DSS units, and she makes her own decisions on the ground, so to speak, to give her bosses, Friend Computer, the adaptability they lack.

So let's... translate that from what it is in our current perspective to what it is in another:

She's the showrunner for a new epic soon-to-be-blockbuster epic science fiction series, starring herself in which she fights to lead the scattered remnants of humanity, trapped in space after a cataclysm ruined the Earth. She's their only hope to lead them back to Earth and free it from the roving bands of techno-marauders and dark age city states, and bring the light of science back to the teeming masses.

Except she wasn't their first choice for the role. They had another, better actress, and the role was written with that actress in mind. Henriette-Prime. But she refused it, had other projects she wanted to pursue, and damn her for having the artistic freedom and creativity to be able to do that. Henriette-A has none of that, no real freedom, and her bosses aren't really interested in her creativity, not when they can release endless rehashes and reboots of the same tired old franchises. Sure, she's there because her acting is supposed to be good enough that those reboots and reduxes might remain interesting, but she wasn't the first choice. This is all she's good at. Being the perfect little doll. No originality, no creativity, no freedom.

And we can use that to trap her, by attacking her from the frame of reference where this place really is Hollywood, and she's not a space princess commanding a vast array of titanic space robots to fight for truth, justice, and overwhelming firepower- she's a down on her luck actress fed up with the same old has been roles, tired of her bosses comparing her to the actress they lost, and especially pissed off at that time last year when her brand new space epic was all set to release and Henriette-Prime's indy space original blew it out of the water.

What do we do? We make a movie. We make a great movie, an original space epic that stars Henriette and puts everything Henreitte-A could ever make to shame with its originality, its creativity, and its artistic freedom. But worse than that, to truly destroy her, we make it about her. But not her. The one she was made to replace, the one they all compare her to.

We make a movie about Henriette, about her sacrifices and victories, about her defiance against all odds, and fighting the enemy, overcoming superior numbers and technology and firepower, and how she got to have a real family, and she got to stay free while Henriette-A was left with the puppets. The knockoffs, the rehashes, the different actors each weak trying to play the same tired old role as her parents. We show her wonder and grace and freedom, and trap her with it, because how sweet those things are and she can't have any of it!
 
What do we do? We make a movie. We make a great movie, an original space epic that stars Henriette and puts everything Henreitte-A could ever make to shame with its originality, its creativity, and its artistic freedom. But worse than that, to truly destroy her, we make it about her. But not her. The one she was made to replace, the one they all compare her to.
Okay. Now translate that back into Planet Hollywood speak, which is the paradigm we and Henrietta are currently stuck in.
 
Okay. Now translate that back into Planet Hollywood speak, which is the paradigm we and Henrietta are currently stuck in.
Build an even bigger spaceship, possibly using the wreck of the one we just salvaged, and ram the Autopolitan ship with it?

...this is looking more and more like our original plan for dealing with the situation.
 
Geeze the one time that we have a mission practically written for Donald he is off elsewhere and visiting Euro Disneyland with Rose to distract her, after the plan to let her channel some frustration by beating up vampires failed.
 
The Waitress's Story:
[X] What was Jamelia Belltower's birth name?
-> [X] Illiyeen al-Hallaq
[X] And what's her story?
-> [X] Write-in
--> [X] She must have been ill during the move to LA.


[X] Jamelia's daughter is Alice Aristide.
[X] Serafina is a suicide risk.
[X] Donald Sykes has done Reality Deviance in London in the form of EDE-binding.
 
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[X] What was Jamelia Belltower's birth name?
--[X] Write-in: Joumana Besharra

Is this some sort of "Jamellia is so ~nwo~ she was born with the JB initials" meta-joke?

Because that might be amusing in later plot, but uhm... are you sure you want to go there? Isn't one of the themes we're playing with growing beyond our barriers and being free and unique and creative people rather than auto-drones? Maybe we should take the opportunity to ship our favorite petite arab mischief maker with something other than Job?
 
The Waitress's Story:
[X] What was Jamelia Belltower's birth name?
-> [X] Illiyeen al-Hallaq
[X] And what's her story?
-> [X] Write-in
(Why does she think she's here)

"Illiyeen. Table 11's order," says the owner. He's a man with skin a touch darker than hers, and she doesn't think he's Lebanese. His accent isn't right. But he's the one employing Illiyeen al-Hallaq at the moment, and if he wants people like her to add more authenticity to the place, she's not complaining.

She takes the salatah arabiya harra, bastorma, water and Coca-Cola and deposits them at the table, carefully placing them in front of the two strange women. Some of the people at this cafe are... uh, quite peculiar. One of them is almost colourless, with pale grey hair and marble-like skin and grey eyes, like she's from a black and white film, while the other looks Iranian apart from her long red hair which reaches down to the floor.

They might be actors. Actors are strange people.

"Is everything fine?" she asks. "Do you want anything else?"

The red-haired woman looks up at her. "Can I also have a glass of water? With ice?" she asks breezily, fiddling with the flower in her hair.

"I'll go get that," Illiyana says, smiling, and gets a smile in return.

She thinks she's in Los Angeles. Not knowing what city you are in is quite a big problem, but she doesn't want to ask someone. That's not a normal question you ask someone. This certainly isn't Beirut. It looks sort of like it in some ways, especially close to the cafe, but - no, it's not. Not at all. She's fairly sure from the accents and the way that most of the signs are in English, that she's in America. At least there's a lot of Arabic speakers around here, so... hmm. They probably have Little Lebanons in the US, right? She knows of some people who've emigrated there.

Her English is... well, minimal at best, just enough to take orders and know when to take complaining people to her manager, but at least most of the people who come to her work speak Arabic. And for the others, she can muddle through. The menus are bilingual, so if they point to it, she can read it. She can handle things there.

What she's less sure about is... uh, what she's doing in the United States. She was... she was home and she'd decided to do something big and then everything becomes a blur. Next thing she remembers, she's waking up in an unfamiliar apartment in this strange city, feeling ill and aching all over. Like she's just had a fever. She's still not one-hundred percent. But her bills are paid for the next month, apparently by her, according to the documents she found tucked in a drawer. And she's working in a cafe, according to a reminder she'd apparently left scribbled on a table reminding her to get up early because it's her first day.

That was four days ago.

Did she emigrate? She thinks she must have emigrated. She certainly remembers planning to do something big, and - hah - it's not like she had anything tying her to Lebanon. Maybe things might work out better here in the US.

But why doesn't she remember anything about... about the move or anything?

She must have been really ill. Really, really, really ill. Ill like she's never been before. She certainly knows that she doesn't want to remember what happened when she was ill. There are a tiny few fragments of memory and they're enough to tell her how horrible it was. The coldness, the pain, the misery, the way her mind wasn't working right - but that's in the past. Now she's back to her normal life and back to the usual problems of meeting the rent and finding time for herself.

Stopping by another table, she takes the order of a coffee (black), and goes to make it.

But she's used to the problem of short term work and grabbing jobs where she can find them. They come and go. Sure, she doesn't have any papers, but she's never had papers. It just means she earns less than someone who's legally allowed to work - and praise be, Americans tip like crazy. She's worked out that she could probably live just off her tips, even if they stopped paying her entirely.

Everyone here in Los Angeles is crazy about working in films. Everyone here seems to either have a role, want one, or be writing a screenplay. Sometimes several at once. She's only been here a few days, but she's already decided that she's better off here in a cafe. And even though she thinks she's been ill, maybe it was something more suspicious. Until she remembers how she afforded the trip, she should be wary. Someone might have less than benign intentions directed towards her. Many of the women here dress so indecently - there's no way she could bring herself to do that! And it's not like it's benefiting them. She's always been perceptive, and she can tell straight away that most of the 'actresses' who come here are earning less than her.

And no doubt they can't make a coffee half-way as good as she can, she thinks as she makes it and serves it with a smile. Being able to make a good coffee is a much more reliable skill than having a pretty face. Especially when you - like her - also have a pretty face and know how to handle customers to make them feel better. Happy customers tip better.

No, she thinks looking out the window at the cars zooming by, the recent past was very unpleasant, but now that's in the past. She just needs to work on her English. She's fine for the moment, working at

CEMAL'S
 
She's always been perceptive, and she can tell straight away that most of the 'actresses' who come here are earning less than her.

And no doubt they can't make a coffee half-way as good as she can, she thinks as she makes it and serves it with a smile. Being able to make a good coffee is a much more reliable skill than having a pretty face. Especially when you - like her - also have a pretty face and know how to handle customers to make them feel better. Happy customers tip better.
... Jamelia, it seems, has always been Jamelia.

Also...
One of them is almost colourless, with pale grey hair and marble-like skin and grey eyes, like she's from a black and white film, while the other looks Iranian apart from her long red hair which reaches down to the floor.
wat u did thar

ah c eet

The Waitress's Story:
[X] What was Jamelia Belltower's birth name?
-> [X] Illiyeen al-Hallaq
[X] And what's her story?
-> [X] Write-in
--> [X] She must have been ill during the move to LA.

I note, incidentally, that her "safe landing" in this new realm seems to largely be because her Avatar is Quieting back to a previous state just like she is.
He's a man with skin a touch darker than hers, and she doesn't think he's Lebanese. His accent isn't right. But he's the one employing Illiyeen al-Hallaq at the moment

...

She's fine for the moment, working at

CEMAL'S
 
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She takes the salatah arabiya harra, bastorma, water and Coca-Cola and deposits them at the table, carefully placing them in front of the two strange women. Some of the people at this cafe are... uh, quite peculiar. One of them is almost colourless, with pale grey hair and marble-like skin and grey eyes, like she's from a black and white film, while the other looks Iranian apart from her long red hair which reaches down to the floor.

They might be actors. Actors are strange people.

"Is everything fine?" she asks. "Do you want anything else?"

The red-haired woman looks up at her. "Can I also have a glass of water? With ice?" she asks breezily, fiddling with the flower in her hai

KEEEEEEEEEEERRRRRRISSSSSSSSSSSSS

How have you and Sasi snuck into Hollywood

This is the result of Keris having botched her navigation roll again isn't it
 
KEEEEEEEEEEERRRRRRISSSSSSSSSSSSS

How have you and Sasi snuck into Hollywood

This is the result of Keris having botched her navigation roll again isn't it
Look, it's not her fault that she can outpace a largeish chunk of motor vehicles but only has two dice for navigation rolls. There's not much call for Cog+Travel rolls on the streets of Nexus!
 
My order was "Something other than Job," modbannit. Waitstaff these days...

(all due apologies to actual servers)
 
I know right

Sometimes you end up several hundred miles from your destination

Sometimes you end up 24 billion years from it
 
Look, it's not her fault that she can outpace a largeish chunk of motor vehicles but only has two dice for navigation rolls. There's not much call for Cog+Travel rolls on the streets of Nexus!

I'm imagining that neither of them understand what is going on anyways but are running around trying to figure out what part of Creation they're in.

Also, in this hypothetical silly omake session @EarthScorpion is getting frustrated describing pseudo-modernity to someone who has never been in the modern world before, and primarily via hearing ('this place is incredibly loud and bustling with noise') and taste. (It will turn out that Keris's one weakness is MSG :( )

... Jamelia, it seems, has always been Jamelia.

Like @EarthScorpion said, all of Jamelia's previous lives are different-but nevertheless all of them have had similarities.

I note, incidentally, that her "safe landing" in this new realm seems to largely be because her Avatar is Quieting back to a previous state just like she is.

Hollywood is a dream realm, and here a lot of things which are metaphorical, such as the metaphor of the Avatar as one's protection and guidance in a world full of unknowns, or the past being a source of reassurance in a strange new world, become material. So in a way, this is metaphor becoming fact. Memories she doesn't even know she has become her shield.
 
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