recursal/Fanatic-Fandom huggingface dataset:
Cottage by the Sea

## Hester's Cottage

The cottage by the sea most often referred to is the residence of Oleta and Hester Wells in the mid-1980s. It was located at the edge of a small town in Aotearoa (formerly known as New Zealand).

For some amount of time before 1980, Hester lived in the cottage alone. She chose this town to live because it was also the hometown of an artist she admired, Roimata Mangakāhia, and she hoped to learn more about her. The cottage was decorated with some of Mangakāhia's work, including "Mountain Horopito #4", which hung above the fireplace.

The cottage stood on its own, without any close neighbours, but it was in walking distance of the town square, which housed an excellent bakery. The cottage had a back porch on which was a low chair that overlooked the beach. The scissors were located in the third drawer down in the kitchen. The post was delivered at around 10am.

Hester mentioned these details in the cassette she recorded for Oleta in about 1983. Oleta woke up in the cottage after her escape from the Institute, and Hester had the cassette mailed to the house, including a message that she would join her at the cottage as soon as she could.

Hester did make her way to the cottage with the help of a pilot, and in 1986, the two of them still lived there, happily married.

## Other cottages

In 1973, Roimata speculated that Claudia Atieno's sudden disappearance was simply the result of a refreshing trip away, and she was spending time near her birthplace, in an artists' commune, or perhaps "another" cottage by the sea. The wording implies that Roimata is referring to the Cornwall House as a cottage, although from previous description it is perhaps too big. It is possible that Claudia stayed in a seperate cottage by the sea, otherwise unmentioned.

In the early 80s, Roimata lived in a cottage by the sea much like Hester's, in fact not being far from it, though their time in the village did not intersect. When she died, the house fell into disrepair. Hester recovered her artwork from it in 1985 and reopened the Karikari Contemporary Gallery (which Mangakāhia had founded) in order to host her work.

## References

1. ↑ 1.0 1.1 1.2 Season 2, Cassette #10: Karikari Contemporary Gallery (1986)
2. ↑ Season 1, Cassette #6: for Oleta
3. ↑ Season 1, Cassette #10: Horopito
4. ↑ Season 2, Cassette #2: Ulster Museum (1973)
Gateway Childhood Centre

**Gateway Childhood Centre**, formerly known as the **Gateway School for Wayward Youth** was originally a school in St. Louis, converted into an orphanage during the Great Reckoning and its aftermath.

Dr. Miriam Gregory arrived in about 1941, before it became Gateway Childhood Centre. After several months working with the children using conventional therapy, she felt it was time to try and tackle the immense trauma they were dealing with using the Watercolor Quiet, starting with a selectively mute thirteen-year-old girl called Florence. Though Dr. Gregory only ever took a single apprentice at a time and was very careful who she taught it to, the technique spread and was adapted and developed by many other researchers into the process that would eventually become the Age Ten Protocols used by the Society.

Rosemary worked as Dr. Gregory's assistant while she was at the Centre. Dr. Rose Haverstock was also employed there for a time, but these may or may not be the same person.

Edgar Hartley was sent to Gateway when he was fourteen years old, and his parents dropped him off in his best clothes with a big red suitcase. When Rosemary informed Dr. Gregory that Edgar had been found dead in an empty lot apparently having died the previous night, she told Miriam that she would call Secretary Marshall and get everything smoothed over, but that it would be best if she left immediately.

## References

1. ↑ 1.0 1.1 You Feel It Just Below the Ribs, p.135-36
2. ↑ You Feel It Just Below the Ribs, p.217
3. ↑ You Feel It Just Below the Ribs, p.144
4. ↑ You Feel It Just Below the Ribs, p.149
5. ↑ You Feel It Just Below the Ribs, p.166-68
6. ↑ You Feel It Just Below the Ribs, p.196-200
Episode 5: September 2001

> *"Trees are smart beyond believing, is what I'm saying. But also, boring. Every day, they don't really move. Maybe some days there's the pain of a lightning strike or the delight of a hatching robin's egg. But mostly it's just standing still, surrounded by beauty, immersed in joy, full of knowledge but not really going anywhere."*
>
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Cassette 1: Take Responsibility!

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> Cassette 1: Take Responsibility!
> --------------------------------
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> ### Season
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> 8
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> ### Episode #
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> 1
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> ### Narrated by
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> Joey Rizzolo as Tony Tollinger
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> ### Written by
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> Jeffrey Cranor and Janina Matthewson
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> ### Directed by
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> Janina Matthewson
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> ### Produced by
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> Jeffrey Cranor
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> ### Air Date
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> 17/10/23
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> *"This tape is free to anyone who wants it, and not everyone wants it. But you do, don’t you? You’re listening to me now because you’re ready to walk this road that leads to greater success in every aspect of your life. You’re listening to me now because you’re ready to go after the life you know you deserve."*
>
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Anita

**Anita** is the subject of season 7 of Within the Wires along with her mother, Rose.

> *"I understand you work in computer programming, Anita. I know a lot of people don’t think of programming as creative. They think it’s rigid and technical, but so is writing. So is photography, and painting, and dance. All creativity is based in rigid forms, in structure and syntax."* **--Elena in *Episode #1: Amarillo***
>
>

## Biography

### Early Life

While Rose was pregnant, she had her wife read up on midwifery in the hopes that she could deliver at home, but Elena thought she was getting carried away, and there was no way the government would allow it.

Despite this initial feeling and having no inclination to childbear herself, Elena felt very connected to the baby, seemingly more than Rose did, and used to stroke Rose's belly and sing to her.

```
Starlight baby

```

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Quiet baby

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It soon will be dark

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Go to sleep

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Time for sleep

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Till sunlight at dawn

```

Rose eventually had her daughter in the hospital in March 1981, and went through the protocols which she passed with flying colours, although she did remember the name she had picked out: Anita.

### Scavenger Hunt

Anita grew up to be a computer programmer, living in Amarillo, Texas, with a roommate. She cooked at home often, rather than eating out, rode an old bike, and (as far as Elena saw) didn't drink alcohol when out with friends. In fall of an unspecified year, she received a package, letter, and cassette from Elena inviting her on a "scavenger hunt" that would reveal stories about her mother. In the first side of the cassette, Elena strongly advised listening to the tape and opening the package alone, suggesting the gazebo at the top of the small hill in Live Oak Park.

Some months after Elena completed the scavenger hunt, she received a call from Thea that Anita had made it to Aotearoa. She told Elena that Anita didn’t say much but seemed to be having a good time, and had seen her wandering about a few times. She wasn’t sure how long she had stayed for, and Elena had no way of now if or how far Anita continued the hunt after that point. However, she hoped that she would make it all the way to Palo Duro, and directed her to a house at the end of Mesquite Avenue with a mailbox shaped like a cow. She told Anita not to go up the path and knock up the door, but to walk around the side and enter the garden. She hoped Anita would find her there, tending to her roses.

## Additional info

* The name "Anita" is a diminutive of "Ana" meaning "favour, grace"
* Anita was a Pisces, meaning her birthday was between 1-20 March (Pisces season beginning on 19 February)

## References

1. ↑ 1.0 1.1 1.2 Season 1, Episode #1: Amarillo
2. ↑ Season 7, Episode #7: Venice
3. ↑ Season 7, Episode #2: Miami
4. ↑ Season 7, Episode #10: Palo Duro
Cast and Crew

**Within the Wires** is created and written by Jeffrey Cranor and Janina Matthewson. From season 4 onwards, it is directed by Janina Matthewson and produced by Jeffrey Cranor. All music is the original work of Mary Epworth. The design of the logo is by Rob Wilson.

## Voice Actors

Most narrators for Within the Wires were cast through preexisting personal/industry connections to Jeffrey and Janina. For example, Roimata Mangakāhia was written with Rima Te Wiata in mind and Indra's origins in Scotland were based on Ameira's own accent. The first narrator not to be created this way around was Freya, for whom Jeffrey and Janina put out a casting call for a Scandanavian woman of colour.[*Citation needed*]

### Main narrators

* Janina Matthewson as Hester Wells
* Rima Te Wiata as Roimata Mangakāhia
* Lee LeBreton as Michael Witten
* Mona Grenne as Freya
* Ameira Darwish as Indra
* Leah Minto as Clíodhna Byrne
* April Ortiz as Elena Jiménez
* Joey Rizzolo as Tony Tollinger
* Kirsten Potter as Miriam Gregory

### Reoccurring narrators

* Jeffrey Cranor as the Pilot
* Norma Butikofer as Gwen Nettles
* Adepero Oduye as the Yuriatin Press

### Guest narrators

* Mary Epworth as Fiona Williamson
* Sarah Maria Griffin as Mary Breathnach
* Anairis Quiñones as Caty Velasquez
* Felicity Crenstil as Ama Cadjoe
* Lia Albers as Lia Bakker
* Kate Leth as Zoe Tremblay
* Lily Potkin as Clarissa Nair
* Julia Morizawa as Leah Akane
* Leah Nanako Winkler as Elaine Hara

## Artists

The original logo design for Within the Wires was designed by Rob Wilson. He also designed the "Faces" and "Perspectives" t-shirts, and the WtW keychain, for the Within the Wires store. The cover of *You Feel It Just Below the Ribs* was designed and illustrated by Caroline Johnson.

Other promotional art has been created by Jessica Hayworth ("Child with Damselfly"), Emily Tat (glow-in-the-dark "Damselfly" shirt and Damselfly enamel pin), Dave Watt ("Dictaphone" shirt) and Kate Leth ("Voicemail" shirt).

## References

1. ↑ Within the Wires on Twitter: "We wrapped up recording for season 4 last week in Oslo, w our narrator Mona Grenne. First 2 episodes debut on September 10."
Aimée Layeni

**Aimée** is a secondary character in the second season of Within the Wires. She was an artist and friend of Claudia Atieno.

## Biography

Aimée was almost the same age as Claudia, but slightly older. This would put her birthdate in the mid-1920s. Roimata Mangakāhia implied that Aimée and Claudia spent their teen years in the same Programming Centre. She was possibly featured in some of Claudia's drawings from when she was a child, described as looking like Claudia but with a less slight and angular build.

Aimée lived in Brisbane, former-Australia, and died there 1968. When she died, her possessions were seized by the Oceanic Government, including her collection of Claudia's art, some of which went on display at the Karikari Contemporary Gallery in 1969.

In 1977, one of her self-portraits hung in LA County Museum in Los Angeles, North America. The painting was first unveiled in the late 1940s, when Claudia was in her early 20s and Aimée was only a little older. Claudia once commented that she missed Aimée, although she "couldn't say" when she had last seen her.

## Additional info

* The name "Aimée" is French meaning "dearly beloved".
* Vishwathi Ramadoss claimed that Claudia and "her sister" did not attend the same school, but pointed to a sketch of Claudia watching her sister as proof that she would secretly visit her. It is unclear if Ramadoss was referring to a university or college Claudia's sister attended, or if she meant they went to different Programming Centres. It is possible that the sister Ramadoss referred to was not Aimée but a different sister.

## References

1. ↑ 1.0 1.1 Season 2, Cassette #5: Van Gogh Museum (1977)
2. ↑ Season 2, Cassette #0: Karikari Contemporary (1969)
3. ↑ Season 2, Cassette #6: Montreal Museum of Fine Arts (1978)
Timothy Dow

**Timothy** is a secondary character in the third season of Within the Wires. He was the secretary of Michael Witten when he became Chief Policy Administrator for the Society.

## Biography

Timothy was a modern dancer who trained at a "rural haven" called Jacob's Pillow. While he was there, he learned Pilates.

Timothy became Michael Witten's secretary in 1954 when he arrived at his new job at the Society Governance Centre in Toronto. Michael made an effort to get to know Timothy and thought he was terrific. He and his wife Vivienne invited him over to dinner every couple of months, and she adored him. They learned that he was a dancer, and he taught Vivi some Pilates exercises as well as inviting them to some of his performances. In 1961, they saw him perform a piece by Merce Cunningham.

On June 21, 1961, Michael read in the Business section of the newspaper that KR Development had purchased a 150,000 acre plot near Chesapeake Bay, and asked Timothy to look into it. Timothy discovered that had had a large contract to develop new schools and childhood centers with the Department of Childhood Development, but they had recently opted out. Michael also learned (possibly through Timothy) that one of the Advisory Board Members for KR Development was Vishwathi Ramadoss at this time.

Michael then had Timothy scribe a letter to Amy Castillo. He asked him to redraft it, taking out any references to Vishwathi and Karen Roberts, make the tone cheerier, and clean up his language. He also asked that he send Amy a bottle of wine for her retirement from public service - a 1940 Cabernet Sauvignon if possible*.*

## Additional info

* The name "Timothy" means "honouring God" or "honoured by God"
	+ This compliments Michael's name meaning "Who is like God?"
* The modern dancer and choreographer Merce Cunningham was a real man, born in 1919. This means that in-universe, he lived through the formation of the Society and ended up with the same career.

## References

1. ↑ Season 3, Reel #10: June 21, 1961
2. ↑ Merce Cunningham - Wikipedia
Black Box Cassette 5: HOU to LAX

The following references content that was only released for paying members on Patreon. *Learn More*

## Black Box Cassette 5: HOU to LAX

### Air Date

25/03/19

> *"I wish I had found you, I'm worried about you. The missing signs in Houston heartened me some. Guess it means you're still on the run. They can't catch Hester. I can't either..."*
>
>

This cassette is the recording of the Pilot's flight between Houston and Los Angeles in the early 1980s, done by the automatic black box recording system.

The Pilot begins by trying to assure Hester that they didn't abandon her. Their contact, Robert, who was supposed to help her, was not as reliable as they were assured. 'Missing Person' posters with Hester's name and face had been posted all over the city, claiming to be from Hester's worried family. On the Pilot's return, he couldn't find either Robert or Hester, or find any information about what had happened to them.

They realised they were being watched by someone in a van and approached them under the guise of asking for directions. The man in sunglasses did not answer them, successfully creeping them out, and they made their exit as calmly and quickly as possible. They spent days losing hope of finding Hester, and started to feel some relief from the stress of not being an active smuggler/fugitive. They briefly compare the experience to the combined grief and relief of their old, sick dog dying, before realising how bad that sounds.

A week prior to the recording of this tape, they flew into Houston and saw more 'Missing Person' signs all over the city. They tore as many of them down as they could, but kept a couple. As they drove around looking for them, they noticed that they increased in frequency further to the west, indicating where the men in sunglasses were looking. At this point in the recording it becomes clear that the Pilot is talking to an empty plane - they are pretending to talk to Hester, or perhaps planning what to say once they find her.

Having resolved to find Hester again while in Houston, the Pilot went to a print shop and designed a flyer meant for her, offering a chance to win a great deal on flights to Santiago and beyond, at a specific time and place the next day. They added that the special phrase "Press the orange button to talk" (which is how Hester communicated with the Pilot on previous flights) must be used. Despite their generous distribution door-to-door, nobody turned up to respond to the message. They were worried about her, but thought that at least if the signs and men with sunglasses kept appearing, that she was still evading capture.
Café Joyeuse

**The Café Joyeuse** was a café in a small village in Cornwall where Claudia Atieno and Roimata Mangakāhia first met. It was owned by a man named Jennifer and named for Charlemagne’s sword.

Roimata and Claudia's first meeting at the café in 1970 was unsuccessful; Roimata was nervous and talked too long, and it resulted in Claudia breaking a plate. The plate in question was decorated with hand-painted rhinoceroses geometrically interlocked along the brim. It broke into three pieces, and Roimata thought that each shard was probably worth more than her annual income. She offered to clean up the mess, but Jennifer asked her to leave.

They arranged to meet at the café again on better terms, and when the café closed for the day at 4pm, they left without any further incidents.

The café served coffee and tea, as well as sandwiches and scones. In the back there was a small garden with some sparse grass and a somewhat disappointing vegetable garden. Among the plants there was a tomato plant, featured in Atieno's painting "Still Life with Tomato Plant and Sword" (1962). In the back of the painting is a mound - or hole - of dirt where Charlemagne's sword is supposedly buried - or not.

Once, when Roimata and Claudia were on a date at the café, they were watched by men wearing sunglasses and smoking cigarettes, accompanied by an unpleasant dog. Claudia was sure she was being surveilled, and Roimata suggested that if they were in danger they should lay low. This was a suggestion that Claudia rejected.

By 1973, the Joyeuse café was no longer in business.

## References

1. ↑ 1.0 1.1 1.2 Season 2, Cassette #2: Ulster Museum (1973)
2. ↑ Season 2, Cassette #1: Tate Modern (1971)
3. ↑ Season 2, Cassette #8: Ohara Museum of Art (1980)
Episode 2: Miami

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> Episode 2: Miami
> ----------------
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> ### Season
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> 7
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> ### Episode #
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> 2
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> ### Narrated by
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> April Ortiz as Elena Jiménez
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> ### Written by
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> Jeffrey Cranor and Janina Matthewson
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> ### Directed by
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> Janina Matthewson
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> ### Produced by
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> Jeffrey Cranor
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> ### Air Date
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> 25/10/22
>
>
>
>
>
>
>
>
> *"You are listening to me exactly as I say it, so in that way I feel you here with me, and maybe you feel me there with you. Well, yeah. That’s… (you know what? Too much, Elena. She’s hardly gotten to know you. Okay, let me try that again.)"*
>
>
Cassandra Reza

**Cassandra** is a secondary character in the second season of Within the Wires. She was an artist and friend of Claudia Atieno and Roimata Mangakāhia.

## Biography

In the early 60s, Cassandra travelled with Claudia extensively. During this time they visited Kota Tua, Jakarta, in the former Dutch East Indies. They remained friends and, Roimata met her through Claudia. Roimata and Cassandra kept in touch, which Claudia may not have known.

Cassandra lived in Nicosia. Roimata once visited her there, and saw her studio which was apparently full of works that would never see the light of day. Among them was a painting of a street in Kota Tua, which Claudia had also drawn and later named "The Arising". Cassandra's version had none of the ominous political subtext that Claudia's did, as hers was a critique of the childcare system in the Society.

Cassandra was a visitor to the Cornwall house and came and went in a similar way to Pavel according to Roimata. A collection of her work was owned by Archie MacPherson.

## Additional info

* The name "Cassandra" refers to the prophet Cassandra in Greek mythology and can be taken to mean "unheeded prophet"

## References

1. ↑ Season 2, Cassette #3: El Museo de Arte Comtemporaneo (1974)
2. ↑ Season 2, Cassette #6: Montreal Museum of Fine Arts (1978)
3. ↑ Season 2, Cassette #4: Bardo Museum (1975)
Reel 5: March 2, 1954

> "*It always feels like the current state of things - whatever that state may be - is just the way things have always been. The way they will always be. But that is an illusion, of course, things have beginnings and endings. It's beginnings and endings only really matter when they're happening. Middles are eternal*."
>
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Rose

**This article is a disambiguation page for Rose**

The following is a list of links to pages that might share the same title.

Please follow one of the disambiguation links below or search to find the page you were looking for if it is not listed. If an internal link led you here, you may wish to change the link to point directly to the intended article.

There are several characters named **Rose** or variations on that name in Within the Wires. Some of them may be the same person, but so far this is unconfirmed. You may be looking for:

* **Rosie Morales**, the leader of the Sandpoint Cradle mentioned in Season 4
* **Rosemary**, the colleague of Miriam Gregory appearing in *You Feel It Just Below the Ribs*
* **Rose Haverstock**, the researcher and humanitarian theorised to be the true identity of Rosemary in *You Feel It Just Below the Ribs*
* **Rose Torres**, the wife of Elena Jiménez mentioned in Season 7

For the flower of the same name, see the **Flowers** page.
Cassette 2: Anxiety, Stomach

**Relaxation Cassette #2**

> *"The eyes are not perfect. They see what they see. They record everything. Like all eyes, they can be avoided. They can be fooled. But they are* everywhere*."*
>
>

## Side A: **Calming Anxiety**

### Breathing exercise

Hester asks Oleta to feel someone watching her, and something pressing on her abdomen. She also asks her to repeat that she is alone and that she is safe. Hester describes a long, thin scar that Oleta has on her chin from when she tripped and fell as a child, but quickly adds that she does not personally know if Oleta has such a scar.

Hester then begins describing the Institute from the outside. After describing the surroundings, Hester goes on to talk about sinking into the ground.

## Side B: **Turn the Stomach**

### Visualisation exercise'

Hester mentions the camera in Oleta's cell, and goes on to describe what the cameras caught of her time at the café where she met her sister and Hester. The first post-programming encounter between Oleta and Nell is described, where Oleta recognises the resemblance and catches her attention. Hester reminds Oleta that the camera saw all of this.

Hester also mentions that the camera is recording Oleta in her cell at that time, while tests were being conducted around her abdomen. She talks about the layout of the room and the camera's blindspots. She goes on to describe the surveillance pattern in the corridor outside. Hester instructs Oleta to remember the fifth door.

Hester asks Oleta to remember this information and not discuss it with anyone else. She also gives Oleta the "correct" answers to the post-study questionnaire, which are B, C, D, D, D, A, C, A. She says that the next cassette will be sent when Oleta's bloodwork has been processed.

## Additional info

* At this point in the story, the narrator was still intended to sound threatening.
* The intention by Jeffrey Cranor behind Hester asking Oleta to repeat certain things was to get the real-life listener to speak the words out loud.
* While writing this episode, Jeffrey was influenced by puzzle box and escape room type games.

## References

1. ↑ Within the Wires (Jeffrey Cranor) on Twitter: ""we will explore inside you" gross. in writing this season, i liked including regular allusion to all of the horrific (but nonspecific) things the Institute does to its patients. at this point in the story, we wanted the narrator to feel threatening. -jc"
2. ↑ Within the Wires (Jeffrey Cranor) on Twitter: "trying to get ppl to say phrases aloud was definitely a goal here. in the rare opportunities we've had to do live shows, these moments were usually v funny. -jc"
3. ↑ Within the Wires (Jeffrey Cranor) on Twitter: ""but that is the wrong question" - i was really into puzzle box style games at this time. i got obsessed with escape room game apps by ppl like yukihiro hozumi and goro sato. -jc"
Within the Wires Live (Night Vale Presents at Largo)

Within the Wires did a liveshow at a Night Vale Presents event Largo at the Coronet, LA, USA in 2019.

## Synopsis

To be added.

Lee LeBreton invited an audience member to the stage to play the role of Amy during the show. She was given a Steno pad and asked by Michael to take notes. According to Jeffrey Cranor, the participant initially tried to note down everything he said, but eventually broke down into notes such as "I can't keep up with this," and "I'm just thinking about how gay I am."

## References

1. ↑ Patreon Hangout with Jeffrey & Janina: 7 January 2024
Entre Le Marteau Et L'Enclume (Episode)

**Entre Le Marteau Et L'Enclume** est le quatrième episode de Minecraft: Story Mode et la "La fin de la tempête de Wither". Il a été publié le 22 décembre 2015.

## Sommaire

*"Dans l'épisode 4, avec la redoutable tempête de Wither plus dangereuse que jamais, Jesse, Reuben et l'équipage découvrent qu'il y a une manière qui peut détruire le bloc de commande au cœur du monstre - mais ils devront braver les dangers. Alors que les alliés inquiets et les amis malades menacent de déchirer le groupe, peuvent-ils vaincre la tempête de Wither dans leur bataille finale? Et quels sacrifices doivent être faits pour réussir? Découvrez dans l'épisode épique "La fin de la tempête de Wither" cela tournera la page sur un chapitre, avant que les aventures ne recommencent ... "*

## Choix

**NOTE:** Les pourcentages de choix peuvent souvent changer.

***Vous avez convaincu Lukas de rester ou de partir?***

* **56,1%** ont laissé Lukas sauver ses amis.
* 40,8% ont convaincu Lukas de rester.
* 3,1% ont quitté Lukas en de mauvaises conditions.

***Vous avez entré dans la cabane de la sorcière ou averti vos amis?***

* **55,9%** sont entrés dans la cabane de la sorcière pour prendre le gâteau.

* 44,1% se sont précipités pour avertir tout le monde.

***Quelle arme vous avez fabriquée?***

* **68%** ont fabriqué une épée de diamant.
* 12,9% ont fabriqué une pioche en diamant.

* 11% ont fabriqué une hache en diamant.
* 5,8% ont fabriqué une houe en diamant.
* 2,3% ont fabriqué une pelle en diamant.

***Vous avez choisi une nouvelle armure ou gardez la vôtre?***

* **86,5%** ont choisi une nouvelle armure.
* 13,5% ont gardé leur propre armure.

***Vous avez convaincu Gabriel de garder le secret ou de dire la vérité?***

* **52,1%** ont permis à Gabriel de dire la vérité au sujet de l'Ordre.
* 47,9% ont convaincu Gabriel de garder le secret.

***Vous avez pris Gabriel ou Petra sur le cheval?***

* **68,9%** ont pris Petra.
* 31,1% ont pris Gabriel.

***Vous avez demandé à Petra de venir avec vous ou de rester derrière?***

* **74,5%** des joueurs ont demandé à Petra de rester dans la grotte.
* 25,5% des joueurs ont dit à Petra de venir.

***Vous avez entré dans le labyrinthe ou chercher un moyen de contourner?***

* **66,4%** des joueurs ont cherché un moyen de contourner.
* 33,6% des joueurs ont choisi d'entrer dans le labyrinthe.

***Quelle nouvelle armure vous avez choisi?***

* **86%** des joueurs ont décidé de prendre une nouvelle armure.
* 14% des joueurs ont conservé leur ancienne armure.

***Qu'avez-vous construit pour entrer dans la tempête de Wither?***

* **35,9%** des joueurs ont construit une charrette de fusée.
* 22,8% des joueurs ont construit un lanceur de dynamite.
* 21,8% des joueurs utilisaient une Potion de Bond.
* 17,9% des joueurs ont construit une machine volante.
* 1,6% des joueurs ont construit un cochon.

## Personnages apparues et acteurs

Incomplètes!

**Informations incomplètes ou manquant**
Episode 7: October 1997

> *"Argh, I’m sorry, I’m sorry about that call earlier. I didn’t listen to your voice message yet, because I already know what it says. I’m already mortified without you telling me off. I’m sleep deprived, that’s my excuse. I always get a bit giddy in production week, and this one has been, yeah. Not the best. A lot has been going wrong. Like, a lot a lot."*
>
>
Rose Haverstock

Redirect to:

* Rosemary

**Haverstock** is a minor character in *You Feel It Just Below the Ribs* and long-time colleague of Miriam Gregory. While notations on her manuscript suggest that she is the figure known as Rosemary, this is unconfirmed (and also, apparently, libel).

## Biography

Dr. Haverstock was a colleague of Dr. Gregory's while she was at Gateway Childhood Centre, and herself said that the two of them had "affection and regard" for each other.

Dr. Haverstock was instrumental in the crafting of standardised processes for the Age Ten Laws and the processes contained within. She was consulting from the early testing stages and approved the final wording of the laws. The editor of Miriam's manuscript speculated that Dr. Gregory had recommended her for the task using her connection to Nora Bostwick, but has no evidence for this. She did groundbreaking work in the New Society in the latter half of the twentieth century.

Dr. Haverstock died sometime before 1996, when Miriam's manuscript accusing her of numerous ethics violations and crimes was found.

## Additional info

* The name "Rose" usually refers to the flower.

## References

1. ↑ 1.0 1.1 You Feel It Just Below the Ribs, p.149
2. ↑ You Feel It Just Below the Ribs, p.159-60
3. ↑ You Feel It Just Below the Ribs, p.274
Black Box Cassette 1: PHL to PWM

The following references content that was only released for paying members on Patreon. *Learn More*

## Black Box Cassette 1: PHL to PWM

### Air Date

20/03/18

> *"Everything I say is recorded, you know. They’ve got these black box things that can record everything that happens up here. You can crack open a plane and listen to whatever the pilot said. Or get data on the flight path and altitude and all that. Basically, I’m assuming you don’t want to be on a recording that anyone official could listen to. They only listen to those black boxes when the plane crashes, anyway, so I guess it doesn’t matter."*
>
>

This cassette is the recording of the Pilot's flight between Philadelphia and Portland in the early 1980s, done by the automatic black box recording system.

During the flight, the Pilot talks to an illegal passenger they are helping, going by the name of Georgia. This woman is actually Hester Wells making her way towards Altearoa as per her promise to her future-wife Oleta.

The Pilot indicates New York City as they fly over it, and points out a neighborhood in Brooklyn called Yellowhook, where their grandfather possibly grew up. They talk about a letter from their grandfather that they found in their shoe when they were almost 13, and the details of the Great Reckoning it describes.

They also mention rumours from other pilots that there is a secret hospital out in the middle of nowhere in Maryland, Pennsylvania, which is most likely The Institute. They talk about men with sunglasses and cigarettes and dogs, who watch everything, and Hester requests that he stop.

The Pilot says that they cannot get Hester all the way to her destination, but they can eventually get her to South America, and onto a ship from there. They say that once in Portland, they will lock Hester into one of the cargo crates (there is food, water, and plenty of air, they promise), and she will be shipped to their friend Kara's house. Hester can stay with Kara, Leah, and Callie until they can meet to arrange the next flight.
Alfra Bond

**Bond** is a secondary character in the second season of Within the Wires. She was an art critic who regularly reviewed the work of Claudia Atieno and Vanessa Nguyen.

## Biography

Bond was an art critic that heavily favoured the Society and was harsh towards any work that she perceived as being contrary to the New Society's ideals. This is because during the Great Reckoning she was impacted badly and interpreted any criticism of the Society as a "call for continued warfare".

She worked for the Western European Times: London Edition. In 1963, she infamously reviewed Nguyen's work in the "Still/Life" exhibit in the Manchester Museum, saying, “Why can’t a bowl of fruit just be a well painted bowl of fruit?” When Nguyen unveiled "Women Alone" at a private exhibit in London, Bond ridiculed her by accusing her of plagiarising Atieno's "The Three Sisters". Bond conceded that she liked Nguyen's version better, but that she should have at least stolen from an artist less well known so as not to be caught.

She was also notably critical of Atieno's "The Charcoal Dish" which was otherwise well-received. She claimed that it was a cynical and weak attempt at iconoclasm. In her review of "A Palace Removed" Bond called the piece “facetious slander" and went on to say, "Atieno wants to preserve history and culture, but not a the cost of progress and peace."

Atieno once told a story of inviting Bond to the Cornwall house for a party. When she arrived, the entire party was wearing masks and silently staring at her. She tried to start several conversations, but upon realising the futility of the endeavour, she drank a glass of champagne, ate a cucumber sandwich, and left calmly. If this really occurred, it was most likely before 1971, as otherwise Roimata would remember the event herself.

## Additional info

* The name "Alfra" is not a traditional one, but if taken as another form of "Alfred" would mean "wise"

## References

1. ↑ 1.0 1.1 Season 2, Cassette #1: Tate Modern (1971)
2. ↑ Season 2, Cassette #7: Sree Chitra Art Gallery (1979)
3. ↑ Season 2, Cassette #3: El Museo de Arte Contemporaneo (1974)
Vanessa Nguyen

artistic interpretation of Vanessa by @poison-donut (on tumblr)

**Vanessa** is a secondary character in the second season of Within the Wires. She was a painter and close friend of Roimata Mangakāhia.

## Biography

In 1963, Vanessa's work was featured in an exhibit called "Still/Life" in the Manchester Museum. Presumably, one of the pieces was a still life of a bowl of fruit, as art critic Alfra Bond commented in her review, “Why can’t a bowl of fruit just be a well painted bowl of fruit?” implying that Vanessa was being too political in her message.

Also in 1963, Vanessa began work on "Women Alone". This painting depicted a group of three women whose reflections did not match the image above the water. At the time, she had a studio in Cardiff which Roimata visited. She mentioned to Roimata that Claudia Atieno had attended Vanessa's exhibition in Munich and they had had a chance to talk. Atieno had asked what else Vanessa was working on, and she described her idea for "Women Alone". Apparently Claudia had replied that she thought it was a brilliant concept and Vanessa was just the artist to pull it off, although she did not like the title. She said, "In art, framing is all."

In 1967, Atieno released "The Three Sisters" which was identical in concept to "Women Alone". Because Vanessa did not release her painting until much later, at a private exhibit in London, she was accused of plagiarism. This accusation is attributed by Roimata to the ruin of Vanessa's career as an artist.

At some point in the early 1960s, Vanessa was painting a study of a sunlit town in Claudia's Cornwall home. This work was later plagiarised into Atieno's "Sunshine Afternoon" (1967). This original version of the artwork was shown in "Untitled Artists at Work" by Claudia Atieno in the "Unfinished Nightmares" exhibit in 1975. Roimata recognised it by Vanessa's "signature" rays of light.

In 1977, Roimata purchased "Women Alone" from Vanessa, and in 1979 she lent the work to the Sree Chirta Art Gallery to be featured alongside her own work as well as "The Three Sisters". In the audio guide she narrated, she pointed out the similarity and its implications.

## References

1. ↑ Season 2, Cassette #1: Tate Modern (1971)
2. ↑ 2.0 2.1 Season 2, Cassette #7: Sree Chitra Art Gallery (1979)
3. ↑ Season 2, Cassette #4: Bardo Museum (1975)
Cassette 3: Journal Your Life!

> *"This process is about investing in yourself. Building a great citadel is a massive undertaking but no one questions its worth. So why would we question the undertaking that is building a great man? And you do want to be a great man, don’t you [BRIAN]?"*
>
>

## Side A

In this section, Tony encouraged Brian to start to keep daily journals of his life for the purpose of self-reflection. Tony frames it as significant because it will allow Brian to propel his progress towards his goals. Tony solicits specific information in these journal entries, such as the happenings of his day, his vital health indicators, and changes in mood. One might wonder if Tony has some way of gaining access to these journals, when Brian is not aware....
Rohaan Youssuf

### Affiliations

Internal Investigations Division, The Societal Council, The Arboretum (formerly)

### First Mentioned

You Feel It Just Below the Ribs

**Rohaan** is a minor character in *You Feel It Just Below the Ribs*. He was a member of the Arboretum and later helped to form the Internal Investigations Division on behalf of the Societal Council.

## Biography

Rohaan was the son of Ekaterina Yelchin's best friend, Brigitte, who died when he was two years old. In the following years, his father physically beat and abused him, and Rohaan began copying his behaviour, taking out his aggression on smaller animals. He concealed his behaviour from the adults at the Arboretum, even Ekaterina who took an informal guardianship over Rohaan after his father died in the early 1920s.

Around 1925 when Rohaan was ten years old, teenage Miriam Gregory joined the Arboretum, after Rohaan caught her stealing from their fields and used his toy gun in the dark to intimidate her into surrendering. Age ten, he was a quiet boy who chose his words carefully and spoke more with adults than the other children at the Arboretum, and although he was not generally badly behaved, he was prone to bursts of anger.

One afternoon, Miriam found Rohaan repeatedly kicking a feral cat in the barn, and although she stopped him immediately, it took almost an hour to calm him down. She began to pay him special attention, sitting with him in the woods each day to attempt to teach him her meditative technique, the Watercolor Quiet. For the first few months, he only pretended to participate to appease Miriam, and she allowed him the space to do that, until he became receptive to the WQ on his own. Rohaan was the first other person to understand and embrace the Watercolor Quiet, and after a year, he was ready to talk about his father's abuse and his own anger. She worked with Rohaan for two years and saw an enormous improvement in his anger management, until one day she realised that the process had helped him to entirely suppress the memories of his father and the abuse he suffered at his hands.

In 1931, Nora and Ekaterina planned to leave the Arboretum to pursue politics, as the world's governments started to regain control and rebuild the world. Ekaterina took Rohaan with her and as an adult he eventually became the aide to Council Chief Anand Balakrishnan.

A year after the formation of the first Societal Council in 1945, Balakrishnan appointed Rohaan and a dozen others to the task of forming the IID, the expressed purpose of which was to support the Council. The Division was established in 1949 and his work on it kept him busy for many years afterwards, limiting the amount he could visit Nora and Ekaterina at their home in Vienna, although he came whenever he could.

## Additional info

* The name "Rohan" means "ascending" in Sanskrit

## References

1. ↑ 1.0 1.1 You Feel It Just Below the Ribs, p.85-88
2. ↑ You Feel It Just Below the Ribs, p.74
3. ↑ You Feel It Just Below the Ribs, p.107-08
4. ↑ 4.0 4.1 You Feel It Just Below the Ribs, p.227
5. ↑ You Feel It Just Below the Ribs, p.196
Edith Marshall

### Occupation

**Council Chief of Greater North America**, Secretary of the Dept. Childhood Development (formerly), Secretary of Education (formerly), Actor (formerly)

### First Mentioned

You Feel It Just Below the Ribs

**Marshall** is a minor character in *You Feel It Just Below the Ribs*. She was the first Secretary of Education for the New Society.

## Biography

Edith Marshall was appointed to the position of Secretary of Education in 1945, which evolved to Secretary of the Department of Childhood Development in 1949. Before her political career, she had been a popular poet and traveling actor which apparently made her a charismatic and well-loved politician.

Sometime in the 1940s, Rosemary came to Miriam Gregory in the Gateway Centre's garden with concerns about a newspaper feature criticizing her work, written by Edith Marshall. Rosemary claimed that the article mentioned Dr. Gregory by name and accused her of conducting illicit medical experiments that harm children. The editors at the Yuriatin Press could find no evidence of this article's existence; Marshall's monthly column in the St. Louis Post Dispatch covered personal anecdotes about her time in the theater industry, humorous poems, and short stories. Dr. Gregory claimed Rosemary published a point by point rebuttal addressed to Secretary Marshall, but this is impossible to verify as well, and invited Marshall to take a tour of the facility and see the results for herself.

Within a few months, Secretary Marshall had visited Gateway several times and publicly withdrawn her earlier expressed opinions. She became a vocal supporter of the Watercolor Quiet and its potential applications of it in "freeing ourselves from the bondage of parenthood." In autumn of 1951, Rosemary claimed she would called on Secretary Marshall to smooth things over after the death of Edgar Hartley. She said Marshall had the Hartley family's paperwork and would see to it that the parents were well cared-for and didn't learn of their son's death. Rosemary said she was certain that with the Secretary's connections, she was sure she could get the IID to drop the case. After explaining this, IID Officer Tony Muñoz informed Rosemary of Secretary Marshall's arrival.

While investigating the funding sources of the Institute in the late 1960s or early 70s, Dr. Gregory discovered Edith Marshall's name among the contributors. By this time, she was Council Chief of Greater North America.

## Additional info

* The name "Edith" is derived from an Old English name meaning "wealth, fortune" and "war". "Marshall" is a vocational surname describing a high-ranking officer of state, often related to law enforcement.

## References

1. ↑ You Feel It Just Below the Ribs, p.149
2. ↑ You Feel It Just Below the Ribs, p.151-54
3. ↑ You Feel It Just Below the Ribs, p.200-03
4. ↑ You Feel It Just Below the Ribs, p.307
Episode 4: January 2002

> *"I really thought all this time that our relationship, that our love for each other, could exist separately from your job. That your job was just something you did for 40 hours a week and then the rest of the time you could be yourself. And we could be a couple. And it would be good and normal and nice. I didn’t think that you were your job, Nan."*
>
>
Cassette 8: Awareness, Eyes

**Extensive Studies Lab Preparation Program Cassette #2**

> "*It is, perhaps, unfair to try and meet someone as if for the first time, with so much knowledge about them. It is, perhaps, unfair to know someone so well when you are a complete mystery to them.*"
>
>

## Side A: **All Eyes On You**

### Breathing exercise

At the beginning of the tape, Hester starts to apologise to Oleta, but stops herself and makes a note to delete what she said (although she obviously does not).

Hester asks Oleta to breathe quickly and sharply, and rock back and forth from the heels to balls of her feet, and remember running in the park. Hester describes how she used to watch Oleta in the park, and slowly built a routine that would eventually allow them to talk to each other.

She goes on to recount an occasion in Oleta's favourite coffee shop where Hester asked her if she remembered her, and Oleta had become frightened.

## Side B: **The Likeness of Strangers**

### Visualisation and physical exercise

Hester opens this side of the cassette with a more decisive apology, for lying to her in the coffee shop.
She asks Oleta to hold a push-up for the duration of the visualisation. The memory for the exercise is again set in the coffee shop, although this time Hester is not present. Instead, it is of Oleta noticing and watching Nell, in much the same way as Hester did to her. Oleta deliberately gets her attention and begins talking to her, with Nell apparently oblivious to who they were to each other.

Hester tells Oleta that Nell was informed of their relationship after Oleta was taken to the Institute. She was shocked to find out, and told the Institute what she knew to avoid sacrificing the life she had made for herself and her significant other.
Within the Wires Live (London Podcast Festival)

Within the Wires did a liveshow at London Podcast Festival in 2018. It featured live music by Mary Epworth.

## Synopsis

To be added.

Part of the live performance included a section from *Season 1, Cassette #1: Stress, Shoulders*, during which the audience participated in Side A's "autogenic stress-relief exercise".

## Additional info

The liveshow was followed by a Q&A during which Jeffrey Cranor was quoted as saying:

> "I ordered a whole bunch of really old relaxation cassettes and autogenic exercise cassettes on eBay, um, and they’re really, really upsetting to listen to. Like, I don’t know, just think about somebody you kind of, like think about a co-worker you kind of know and just see if you can sit and stare them directly in the eyes quietly for like thirty straight seconds, like it’s that level of discomfort, like, the type of like intimacy these tapes want to have with you."
>
>

## References

1. ↑ 1.0 1.1 Aylin Euritt, "Within the Wires’ Intimate Fan-based Publics", Universität Leipzig, Germany.
Cassette 4: Make Your Own Opportunity!

> *"Every conversation is a Bingo card. Every date. Every meeting. Every interview. Every single one of these cassettes. You cannot make your own opportunities. They must come to you. But that’s far more likely if you’re making yourself available."*
>
>

## Side A

Tony Tollinger explains his philosophy on the concept of opportunity. Tony explains that, while many people view opportunity as passive, fleeting, or otherwise transient in nature, people like Brian must create their own opportunities. While explaining his ideas, Tony gives examples of creating your own opportunity that appear to be more like attempts at targeted stalking and information gathering. Perhaps Tony has created his own opportunity to gain access to Brian's life? Has Tony updated his own resume and applied to multiple positions in his or related companies hoping to gain information about Brian? Has Tony now, or will he in the future, go on dates with people he is not visually attracted to as a means of gathering information on Brian?

Tony reveals that he once went on a date with a woman he did not find particularly attractive simply because he thought it would be a more productive use of his time than sitting in a hotel room alone. It appears this woman was traveling in a clandestine manner. Tony shares that the information he gained from going out on a date with her allowed him to achieve one of his most important goals.

Tony begins to instruct Brian to remember what it was like to be a kid at the development center. However, given what we know about the Age 10 Protocol pioneered by Dr. Miriam Gregory, Brian would not (or certainly *should* not) have such memories. It is a possibility Tony may possess these memories in vivid detail. Tony insists that Brian has benefitted from the friendships he made at the development center. Tony then takes a sharp turn onto the topic of hidden dangers and potential betrayal. Is it possible that Tony and Brian have unfinished business of which only Tony is aware?