recursal/Fanatic-Fandom huggingface dataset:
Ejfken Hmdh

"Ejfken Hmdh" ("Jakob's Aria") is the fourth track of the third act of The Lost Fairy, and the eleventh track of the album overall.

## Performers

Psyche Chimere as "Han-Mi"

Oliver Marsh as "Jakob" and "Jesse"

## Lyrics

[HAN-MI:] *(spoken)*

With her wings damaged and unable to run further, Jane and the fairy take shelter inside a storefront, Marcus’ Mattresses. Knowing they are cornered, Jane prepares for her last stand. Last stand? Jakob’s unit bursts in and Jane unloads on them, killing two. Jakob flies into a blood rage and - I can't do this - shoots Jane, then proceeds to - no, I can’t do this - proceeds to beat her bloody with the butt of his - no, okay, wait. It is then his brother, the alternate inside his head, stops him.

[JESSE:]

To fill the hole where all the darkness comes

The pain and sorrow we could not outrun

The bitter road and all that we have done

In the end, what have we become?

They’re children, look at them, they’re both so young

What truly now have either of them done?

Are we the monsters that in cruelty comes?

In the end now, what have we become?

[JAKOB:]

The world is often cruel and there are monsters who will come

And they will burn the world and all in it you love

The strong then fueled by rage are all that stands there in their way

And to stop them, this is what we have become

[JESSE:]

A road of bitter tears we both have run

And never questioned that which we have done

To fill the hole where all the darkness comes

In the end, what have we become?

[JAKOB:]

I’ve never lost or strayed from all the vows that we both made

I’m the one who faces beasts when others run

Duty’s more than just a word and I’ve kept true and never swerved

And I’ve stood firm against the darkness when it comes

[JESSE:]

You are not the prime, I know you think you are, but I

I was the one who was there back when it began

It was you who came along to take away the rage

When I couldn't cope, could barely even stand

[JAKOB:]

I lived a life of rage and war

It was the burden that I bore

It was the burden that I bore

It was the burden that I bore

I lived a life of rage and war

It was the burden that I bore

It was the burden that I bore

It was the burden that I bore

I lived a life of rage and war

It was the burden that I bore

It was the burden that I bore

It was the burden that I bore

I lived a life of rage and war

It was the burden that I bore

It was the burden that I bore

And you swore to me I would never be, I would never be alone

And you swore we'd fight and we would make it right and I cannot let that go

I will see it through if it's the last I do

I will not concede or stray

I will never stop; cut my own arm off

I will bury you this day
Lost Night's Lullabye

"Lost Night's Lullabye" is the sixth track of the fourth act of The New Albion Guide to Analogue Consciousness, and the twenty-fifth track of the album overall.

## Lyrics

[RACHAEL:]

It’s another endless night

It’s another strange delight

it’s one lost night’s lullaby

It’s another warning sign

It’s another half spent time

it’s one lost night's time gone by

it’s another way back home

Only seen when you don’t want to go

It’s a blind man’s twisted road

the breadcrumbs thrown

That disappear behind

It’s another waning tide

It’s another time gone by

It’s just one lost night’s lullabye

it’s another half-read rhyme

Sent to you this one short time

But there’s no reply at all

it’s another one way sign

From a past I sacrificed

For a future that I can’t recall

It’s another child by night

Sailing on a pale thin silver light

Past the star that leads back home

The four winds blow you on another mile

It’s another distant sign

It's another time gone by

It's just one lost night's lullabye

On a ship of half-dreamt dreams

I sent my wishes out to sea

But there’s no reply at all

Sailing past a blood red moon

Through the years and wordless tunes

To a place I can’t retrace at all

It’s long and lavish life

Lived away in one lost stolen night

Gone to wander in the wild

Time steals the child

The final chime gone by

It’s another endless song

It’s another memory gone

It just one lost night’s lullabye

## Trivia

This song originally was going to be used in The Dolls of New Albion until it was replaced with the song "Elysian Night" The song was then repurposed and re-sang for The Atompunk Opera
A Scene in Ice

"A Scene in Ice" is the seventh track of Fairy Tales for the Lost and Wandering.

## Lyrics

*(spoken)*

The only thing she ever liked about winters there were the trees.

It was in that small, sad little town where she spent her childhood that she learned to colour loneliness in whites and love in formless greys which some said were the defining quality of her paintings. The days were endlessly barren, with whiteness extending out into a horizon speckled only with distant houses and clusters of trees. In darkness, things can hide, shapes can suggest form – but in endless white, you know there is nothing else and that you are alone.

During the cold, windy nights, she would lie in her room and listen to the sound of the wind howling off the icy lake. She was certain it was her sister, calling to her from beneath the ice where she had drowned years before, calling to come out onto the lake to keep her company and skate perfect figure-eights with her beneath the moonlight.

In the cellar where she often played, an angel lived, trapped behind the walls. In the candlelight, she could see his shadow on the wall and hear the slow, deep beating of his wings. By her early adolescence, she had fallen in love with him, and this love marred later relationships. As she would grow closer to boys, she would come to know them and they would lose their mystery. Mystique was the quality she truly fell in love with. Her perfect man was always the shadowy form of the angel in the cellar walls, whom she could feel, but never touch.

Once, in her mid-teens, at midnight, she went out onto the lake and threw herself into a hole in the fragile ice. She sank slowly to the bottom. As her heartbeat slowed and her body froze, she saw her sister come to her, and they embraced gently. She began to cry and finally tore herself away, swam to the surface, and pulled herself up onto the frozen ice.

The only thing she ever liked about winters there were the trees.
Lollyland

**"Lollyland"** is the eleventh track of Nash Harding and the Secret of the Twisted Tower.

## Performers

Hayley Warner as "Amber"

Jessica Law as "The Queen"

## Lyrics

[AMBER]:

There’s a land made out of liquorice and caramel they say

A sweet and sour gloomy realm another world away

Where gummi bats and swirly rats and wild, taffy clans

Roam the gumdrop forests, down in Lollyland

In Lollyland, In Lollyland

Sweet sins upon command

In Lollyland, Lollyland

Temptations you can't understand

In Lollyland your mother’s queen and just a bit insane

Your name there is Prince Pear and she locked you far away

[QUEEN]:

I was brought up near the honey mines where i swore that i would taste

A taste thats like no other, that of power sweet and great

I learned forbidden magic made of gummi blood and bone

Wholе villages i sacrificed til at last i took the thronе

I had a son i vaguely loved, but the crown must stay with me

So i locked him in a tower and then threw away the key

[AMBER]:

In Lollyland, In Lollyland

Sweet sins upon command

In Lollyland, Lollyland

Temptations you can't understand

You live atop that tower and you never leave its space

You spend your time making other worlds with your paint

But enter now the hero, a fair, courageous lass

Who spied you in your tower one day when she did pass

You spoke of dreams and wonder, she would come to you each day

And sure enough you fell in love, conspired to escape

In Lollyland, In Lollyland

Sweet sins upon command

In Lollyland, Lollyland

Temptations you can't understand

You fled you ran across the land your true love and you

But the queen insane with hate and rage is after both you two

She was closing in, but this is when, by purely random chance

Arcadia Corp opened a door, plucked you from Lollyland

Your land is grave peril, your narrative is doomed

I’m sad to say your mom, the queen, was supposed to murder you

Quite horribly, but then you see, your true love would avenge

Your gruesome death, cut mother’s neck and this is how it ends

Because you are not there right now, this fate cannot be spun

And your narrative will soon unfurl, your whole world will done

Your love thinks that the queen has put you back at tower’s eye

She heads there, we must put you back there before your love arrives

In Lollyland, In Lollyland

Sweet sins upon command

In Lollyland, Lollyland
Jack of Ash

"Jack of Ash" is the fifth track of Fairy Tales for the Lost and Wandering.

## Lyrics

Come with me, girl, I will show you a world

Where we dance, you and I, 'neath the moon and the sky

Come with me, girl, to the thrills and the whirls

To the ending of time, you and I own the night

Sometime ago, in the city, I must tell

A girl birthed a baby in a room by herself

A secret she kept, but when birthing was through

She wrapped it and hid it in her chimney's dark flue

And then she collapsed, there's a hospital and

From there on she's out of our tale

But a man, a chimney sweep, heard the wee babe scream and cry

So he took him, and on the roofs, raised him up high

This youth, Jack of Ash, he would dance on the roofs

Leaping and twirling beneath the gold moon

A girl, in a window, would watch him each night

And long to be out on the roof by his side

Come winter, at her hearth, she said, “Jack of Ash”

Five times and waited 'til spring came at last

And with it came Jack, who took her by the hand

And out onto the rooftops and taught her to dance

Every night, Jack would come and they'd go

Out onto the rooftops and dance, fast and slow

Spring turned to summer, and the girl got good soon

And after they danced, they would kiss 'neath the moon

Summer to fall, and still every night

They'd dance and make love, a spectacular sight

As they'd leap in the air, over people and streets

Under stars, like a wind that is wild, that is free

Fall into winter, the last leaf turned brown

The girl collapsed still, and Jack never returned

The doctors could not diagnose her, but where

They all agreed is that the girl aged ten years

Jack of Ash, his tale is always the same

A fireplace in winter, five times say his name

From first spring to last leaf, the romance you'll know

Will never be equalled, but ten years you'll lose

Jack of Ash loves and Jack of Ash plays

He dances, but Jack of Ash never does age

Come with me, girl, I will show you a world

Where we dance, you and I, 'neath the moon and the sky

Come with me, girl, to the thrills and the whirls

To the ending of time, you and I own the night

Come with me, girl, I will show you a world

Where we dance, you and I, 'neath the moon and the sky

Come with me, girl, to the thrills and the whirls

To the ending of time, you and I own the night
Fall

*Fall* is the first song in The Fallen. It introduces the Demon and the Angel and sets the plot into motion.

### Lyrics:

*rain*

*piano music*

*gull noises*

[DEMON]: "The kiss radiated with expressive brilliance, lasting several long moments, until finally, the Angel and Demon parted, the Angel shooting into the air, swooping her body savagely, while the Demon smiled bashfully, his head hung with reverence.

The shadows now you've come to find that smear the words between the lines. Something's changed, a long blue way.

Black and white turns..."

[ANGEL]: "...to shades of grey."

[DEMON]: "The Angel cried out that she was free for the exploration of sexuality. She spoke of the sweet grapes of the world, of (?) and ecstasy and the raw amounts of suffering, while the Demon ruminated on the worlds bitterness and of how all his lost moments of ecstasy had bought only scars in the absence of serenity.

The sands of time in fiery nights

Have shadowed now my dreams of flight

But sometimes still, when dusk has gone,

(Our stand on is closed?)"

[ANGEL]: "With outstretched arms..."

[DEMON]: "I've lost my road, my thrills, my dreams, I've burnt and bled, I've lost my wings. Oh, the taste, those same sweet grapes...

it was the price."

[ANGEL]: "Worth the pain."

[DEMON]: "It's staring intently at the dirt road that wound away from the cliffside. The Angel removed her wings, placed them on a nearby stone and disappeared down the path. The Demon watched long after she had gone. Finally he rose, picked up the discarded wings, put them on, took a deep breath. He broke into a wild run and leapt over the edge of the cliff."

[DEMON]: "Fall, little Angel, fall, little Angel and then I fall, but with these broken wings I'll fly!

Fall, little Angel, fall, little Angel and then I fall, but with these broken wings I'll fly!

Fall, little Angel, fall, little Angel and then I fall, and with these broken wings I'll fly!

Fall, little Angel, fall, little Angel and then I fall, and with these broken wings I'll fly!"
Ocn Erhmqnn

"Ocn Erhmqnn" ("The Dwarves") is the second track of the third act of The Lost Fairy, and the ninth track of the album overall.

## Performers

Psyche Chimere as "Han-Mi"

Paul Shapera as "Dwarven Chorus"

## Lyrics

[HAN-MI:] *(spoken)*

Exhausted and frightened, Jane and the little fairy reached a strange place considered by some myths to be the center of the world: the realm of the dwarves.

[DWARVEN CHORUS:]

Hey ha ho and a hey ha ho

Hey ha ho and a hey ha ho

Hey ha ho and a hey ha ho

Hey ha ho and a hey ha ho

Hey ha ho and a hey ha ho

Hey ha ho and a hey ha ho

The wheel we turn as the world it yearns

And souls fall and ascend

And where there's a wheel, there are dwarves like steel

To keep it moving as our duty to attend

You’ve heard it said that Elysium's no end

That the souls there one day leave

And as they adjourn, they’ll converge and merge

Until millions make a god, you see

These gods so called, archetypes one and all

As above reflects below

But though this is so, there are things you do not know

Why we turn these great wheels so

Up above we know there was trouble long ago

The chaostrophy swept forth

And the gods they died, only few were left alive

And the macrocosm almost broke and tore

A well was formed, leading down to this world

And a god threw themself down

And their shattered form became us, the dwarves

And we built the wheels in worlds underground

They stabilize this plane of space and time

Which teeters on the edge

And new pieces churn, converge and merge

To restore the realms now wrecked

Where these wheels exist, evolution moves brisk

And more potentials bred

But also as it turns, some post-humans will emerge

To replace the gods long dead

There are tensions great, the future must be on its way

There are stories that must wake

So we greet you thus, the Author comes to visit us

And we wish you well upon your way
Bogdan

Art by Fayz

Unnamed father

**Bogdan** is a main character of Janissary. He is voiced by Paul Shapera.

## Background

Bogdan was born in the Balkans, in a region controlled by the Ottoman Empire. His father fought against the Ottomans, but returned from battle a broken man who proceeded to drink himself to death. At one point, Bogdan met and married Danijela, and together they had a daughter, Brija. When Brija was a baby, she was taken by the Ottoman government to be raised by them in hopes that they could cultivate a Janissary harem corps. As a result of this, Bogdan and Danijela tore their marriage apart in grief, and Bogdan left the household to go and drink himself to death, as his father had before him. While at the kafana, Bogdan is attempting to drown his sorrows in alcohol when he is hit with inspiration to fight the Ottomans himself as a hajduk, and goes off to a graveyard to ask his ancestors' spirits for directions to the camp of the hajduci.

Upon reaching the camp, Bogdan finds himself in good company. Eventually, though, the hajduci are ambushed by the forces of the Vizier, who slaughter them all except, miraculously, Bogdan, who is knocked unconscious, but remains the last hajduk alive. When he wakes, the Black Monk spirits him away to the monastery where he and his fellow monks worship Chernobog, the Black God. The Black Monk tells Bogdan that he is a pawn of Chernobog, and moreover, that Chernobog wants Bogdan to carry out justice by exacting vengeance upon the Vizier by killing him as well as a girl (who, unbeknownst to Bogdan, is a young adult Brija) who will be with him. Bogdan stays at the monastery for what feels to him like several days, but is actually a decade.

On the path to the Vizier's palace, Bogdan walks for weeks as ghosts constantly appear to him and remind him to reflect on his actions, which he begins to regret. Eventually, the ghost of the long-dead Danijela appears to him and takes him to task because Bogdan ain't shit. Bogdan apologizes to her, voices his regrets, and comes to terms with the fact that this final undertaking of his is the only way he can atone for what he's done. He finally arrives in the court of the Vizier, who identifies him as the last hajduk and commends him, offering Bogdan, out of respect, a chance to turn around, with land ownership as an incentive, and threatening to have Brija gut him should he fail to accept this chance. Bogdan refuses, states his reason for being there, and voices his regrets before slaughtering the entirety of the Vizer's court, leaving the palace covered in carnage with only 3 living people left. When the time comes for Bogdan to strike Brija down, he instead looks her in the eye and drops his sword. Many say to this day that Bogdan knew it was Brija he was looking at, though this is rumor. Brija, however, did not hesitate to impale and kill Bogdan, before turning and doing the same to the Vizier.

## Trivia

* Janissary is framed as an August Sky Playhouse production in-universe, and as such, the actor who plays Bogdan is none other than the posthuman Michael.
Nash & Ryvyr Grok 2

**"Nash & Ryvr Grok 2"** is the tenth track of Nash Harding and the Secret of the Twisted Tower.

## Performers

Paul Shapera as "Nash"

Kerttu Aarnipuu as "Ryvyr"

Hayley Warner as "Amber"

## Lyrics

[NASH]: *(spoken)*

It’s done

[NASH]:

I painted you a door to Arcadia Corp so you can

Go before anybody knows

[RYVYR]:

Go with me though

Come, life on the run can’t be all that fun

Come on, you should go, you have no purpose of your own. You can

Piggyback on mine

[NASH]:

I’ll be fine, i dont need a purpose

Just to stay alive, besides, someone tell me why

I should need some larger goal to give meaning to my life

Can’t just living in the moment be all that i require

[RYVYR]:

Hows that working for you?

[NASH]:

Fine, it was all right for awhile

It was great for a bit, but it got stale and lost its bliss

I wish that it could stay the way it was

[RYVYR]:

You can’t replace

Meaning in your life with thrills and winе and stimuli. I’m sure the

Party days werе great but i don’t think they replace the fact that

You don’t know your past or where you are upon your path

[NASH]:

Shouldn't existing be an act thats blissful in itself?

[RYVYR]:

In fact

Every goblin in the tribe has a place and has a task

And this keeps the tribe alive, it allows the tribe to thrive

Working for the greater good, theres deep fullfiment, Nash, you should...

[NASH]:

But that’s not purpose, thats just tasks, that’s just busywork then, that’s

Just staving boredom off you know, while the days they come and go

[RYVYR]:

The days they come and go

[NASH]:

The days they come and go

[RYVYR]:

The days they come and go

[NASH]:

The days they come and go

[RYVYR]:

You can still have work and fun

[AMBER]:

Excuse me... on the day we come...

Please just hear me out, i came alone with no one else

I need to tell you things and then i’ll go away

There’s things you should hear, Nash, i know all about your past

I beg you listen please to what i have to say

You both talk here of purpose like its something that you choose but

From higher powers come the paths you face

You can ignore or not receive it, but your calling, you should heed it

Comes from spiritual realms not of this place

Here me out, you have a fate

You come from somewhere far away

At least just learn from where you came

Another realm you’ll return one day

Another realm, so far away
The Mascot 3000 (Song)

This article is about the song from The New Albion Guide to Analogue Consciousness. For the character, see Mascot 3000.

"The Mascot 3000" is the first track of the fourth act of The New Albion Guide to Analogue Consciousness, and the twentieth track of the album overall.

## Performers

Kayleigh McKnight as "Mascot 3000"

Oliver Marsh as "Connor"

## Lyrics

[MASCOT 3000:] (spoken)

Would you like to initiate consciousness?

Mascot 3000 consciousness initiating.

[MASCOT 3000:]

When I woke

When the spark of light

Ignited and I saw

The sweet numeric cascades

That encase and paint the world

When I woke

To the carbon creatures peering in my face

With their questions, tests, delight

And yet I missed a soft embrace

When I woke

When I woke

When I woke

To a lonely world

Though I know they tried

They say I’m prime, first of my kind

And watch with careful eyes

When I woke

And I hear the silent secrets behind smiles

What they won’t speak, before machine

I used to be a child

When I woke

When I woke

When I woke

When at night the lights

Are turned out and they leave

I smile inside and read my trashy sci-fi magazines

When I woke

All the tales, adventures

Journeys I would read

And I wish upon a star

Someone would go on them with me

When I woke

[CONNOR:]

You are more than what you seem

You were once a human being

You are more than circuit wires

You were once my baby child

You have brothers, one is lost

But one returns soon from beyond

Just like you, new life he’ll have

With them you’ll go one day perhaps

These people more than words I hate

But my son is trapped away

In a far and foreign place

And you will bring them back one day

[MASCOT 3000:]

When I woke

When the strange man comes

And talks to me each day

Not of numbers or of data

But of hearts and soft embrace

When I woke

And he speaks of siblings standing by my side

And I sit and wish one day

We have adventures, them and I

When I woke
The Gnomes

The Gnomes are an entity which seek to control The Metaverse. They are described as tiny, and a dark, dark black in color. They have tried to attack various Post-Humans, such as Asha and William. Their primary goal seems to be to defeat The Dwarves in each narrative, and gain control of The Hamlet Wheel, as without the gods, The Hamlet Wheels are the most powerful way of controlling The Metaverse. They also seek to find The Lost Ones, in order to torture them for information on the nature of The Metaverse.
Back at the Hall of Mirrors

"Back at the Hall of Mirrors" is the eighth track of Uncle Raven's Super Happy Fun Time Carnival.

## Performers

Psyche Chimere as "Han-Mi"

Rhys Owen as "Henry"

## Lyrics

[HAN-MI:] *(spoken)*

Henry? Henry, can you hear me?

[HENRY:] *(spoken)*

Yeah, but I can’t find you. I can’t get out of here, it’s another recursive loop variation.

[HAN-MI:] *(spoken)*

Just stop. I don’t think this maze can be solved. Listen, we did this once, we broke the other loop at the cabaret. We can break this one.

[HENRY:] *(spoken)*

I don’t even know what we did…

[HAN-MI:] *(spoken)*

Hold my beer.

[HENRY:] *(spoken)*

Hold your beer?

[HAN-MI:] *(spoken)*

Just stand back. I can do this.
Homecomings that Don't Suck Rarely Make Good Stories

"Homecomings That Don't Suck Rarely Make Good Stories" is the ninth track of The Forgotten Meme.

## Performers

Psyche Chimere as "Han-Mi"

Kerttu Aarnipuu as "Meme"

## Lyrics

[HAN-MI:] *(spoken)*

Deep under the city, in the great, dark room the little meme had crawled out of, the odd, ever-evolving biosphere had produced a species of cyber schistocerca. It possessed a hive mind that was born connected to the net, and found that its growth and evolution could best be fed by feeding on human consciousness. Thus it had co-opted certain corners of the net, creating traps whereby unsuspecting human psyches could be caught and caged like cattle, whilst the species fed upon them and grew.

Rebecca and the meme fell into just such a cage, where Rebecca was to be devoured by the hungry creatures. The meme wrapped herself around the girl, to protect her.

As the creatures came to feed, they paused.

[CREATURES:]

You are one of us, we see

Why are you in the cage?

Step aside and leave us to our dinner for this day

[MEME:]

A distant music

There’s a beauty that’s elusive

In a world the vulgar reign and reek of

Your hunger sated soon by others lost and wayward

Leave this one, she’s all that I love

[CREATURES:]

You are foolish, little meme

And we desire to feed

Step aside and leave us to

Our meal which we all need

We must feed and we must grow

You should understand

Stay with your own kind down in

The sacred twilight land

[MEME:]

A distant music

There’s a beauty that’s elusive

In a world the vulgar reign and reek of

Your hunger sated soon by others lost and wayward

Leave this one, she’s all that I love

[CREATURES:]

You are foolish, little meme

And so all alone

Step aside or face our wrath

We'll chew on this one's bones

[HAN-MI:] *(spoken)*

They laughed and came at her.

Memes are passive things, mostly unpossessing of consciousness, except in rare cases. But they are many in number. So very, very many. And the psychic residue they absorb from their amused hosts is incalculable.

The meme cried out into the net, calling to every other meme that could hear her cry. From across the great expanse of cyberspace they responded, a massive swirl of psychic residue pouring forth. And with this voice, the meme spoke again.

[MEME:]

A distant music

There’s a beauty that’s elusive

In a world the vulgar reign and reek of

Your hunger sated soon by others lost and wayward

Leave this one, she’s all that I love

You cannot have her

You cannot take this one

You will release her

She is all I love

You cannot have her

You cannot take this one

You will release her

She is all I love

[HAN-MI:] *(spoken)*

The psychic typhoon formed a great tunnel, and as Rebecca clung to the little meme, she found herself pulled back through the vortex, past the game and finally into the waking world, where upon her lap sat a strange little metallic creature, a little Frankenstein-like rodent that gazed up at her with love.
Percy

**Percy** is a side character in the story from Astonishing Tales of the Highly Improbable detailing the life of William.

## Background

Percy was an inaugural member of the Promethean Lodge along with Davish, Jan, and William. Together, the four men studied ritualistic magic, which they learned how to invoke through theatrical performance. One day, after such a session, they found themselves in another world which was almost identical to theirs, with the exception of monsters that came out at night and hunted humans. Attempting to return to their home reality, they ended up jumping to successively more dangerous worlds, eventually running out of money to stay at inns while monsters terrorized the night. They decided to steal something that would be worth money anywhere, and Percy came up with the idea of robbing a candlestick shop, where they were caught by the clerk, a woman named Kola, who accompanied them after.

The next world they jumped to was one with a city in shambles, and it was there that Jan became gravely ill. As they tried to find him a doctor, they kept jumping into more and more dangerous Narratives, and in one such world, eventually, Jan died. While they mourned his passing, they were captured by Gnomes, who were native to this Narrative. Davish was taken away and tortured to death, but Percy, Kola, and William were all placed in a cell with 3 ratlike creatures called Lost Ones. After providing information and a task for William to complete, they asked the humans to kill them and use their blood to open a portal in order to escape, which they did.

The trio found themselves in a Narrative with a desert inhabited by humans, who took them to their village. William had been tasked by the Lost Ones to find Dwarves who lived underground in this Narrative, and when he finally was given information pointing to their location, Percy went with him to their informants' village, leaving Kola, now heavily pregnant with a villager's child, behind, with the promise of return. When the men arrived at the village, they found it ravaged by Gnomes, and evacuated, with the women of the village, into a nearby cave system. This cave system forked into two paths, one of which led to the Dwarves. William went to the Dwarves, promising to return to Percy. Percy stayed with the women, volunteering to defend them, though the women were generally more proficient fighters. This was the last time Percy would see William, although William would later go on to seek Percy once again, unaware that he'd died decades prior.
Pendant of Kultainen

This article is about the magic item used to weave golden leaves from Kevin & Abi and the Secret of the Golden Pendant. For the song, see The Pendant of Kultainen

The Pendant of Kultainen is a magical artifact which was once used by the goblin tribe. Years ago, a volcano caused a famine. A goblin shaman traveled to Mountain Sumu, and made a deal with the hags of the mountain: in exchange for giving the hags pedicures, the hags would bestow a pendant which would create golden leaves, allowing the goblin tribe to make tea. The goblin tribe used the pendant to sustain themselves for the duration of the famine.

Years later, the pendant ended up in the New Albion narrative. Ryvyr D Goblin noticed that the pendant was owned by Sorandra, a human, and wished to take it back. As Ryvyr traveled back in time with Kevin and Abi, she found that the pendant was in the possession of various people, each seeming to use pendant to enrich themselves. All the while, the pendant called out to her from time doors, wishing to return to a goblin owner.

Eventually, the trio finds that the pendant had been stolen from a pair of Voodoopunks, who were murdered for it. Kevin and Abi tell Ryvyr that they will reclaim it from its owner in the present and give it back to her. Presumably, after the album, the pendant is given back to Ryvyr.
Venla

**Venla** is a character featured in Nash Harding and the Secret of the Twisted Tower and introduced in the song Ryvyr D Goblin in which Ryvyr infodumps her entire backstory to her new friend Nash Harding.

In the song Venla, Ryvyr and her girlfriend Hiisi go on an epic quest but fall into a trap set by the worm king.
As the worm king makes his threats it becomes clear that this wasn't a coincidence and Venla has sold the two goblin girls out.
Venla is granted freedom but as Ryvyr makes a blood oath proclaiming she will not die until she has sent Venla to hell and feasted on her eyes.

Later, as Ryvyr and Nash go to Arcadia Corp Labs to rescue Hiisi, the duo instead find Venla. Nash is initially happy, thinking that Ryvyr and Hiisi have been reunited, but Ryvyr immediately murders Venla, fulfilling her blood oath. Amber rushes into the room, and explains that due to Hiisi's death, Ryvyr's world will fade from existence, as Venla still had a role to play in her own narrative which she will no longer be able to.
Nek

Tumblr

Nek is an artist and an ecstatic chicken enthusiast

## Official New Albion Art

* Gabriella Gadfly shirt, hoodie, and poster

## Gallery

John O'BrienBlood Red DogsYasser, Mary and HankAlexanderLloyd AllenZoeMichael and the boy from LullabiesOne Pace from Disgraced CabaretHenryThe FloozyJadeRaven and LloydRebecca and MemeJane, Rebecca and MemeJane, Rebecca and MemeThe Mayor and Meme
New Albion 10

"New Albion 10" is the seventh track of the fourth act of The New Albion Guide to Analogue Consciousness, and the twenty-sixth track of the album overall.

## Lyrics

[MASCOT 3000:]

So thirty souls from the beyond

Return to dear New Albion

As a new computer species but

The Voodoopunks my friends

Well they never rise again

Their tale I’m quite afraid is done

Though I love you all my dears

I’m afraid the time is here

To depart the city we all love

there are other places more

On this world to explore

And the time to see them now has come

Here’s to the tales of ghosts and card games

Civil wars, soldiers and soirees

Talking mice, lines of red haired gangsters, and

Dead things with which we play

So say our goodbyes to this dear city

Will we return here, who’s to say?

We’ll meet you next time across the ocean

The future my friends, is on its way
Home (Caravan)

This article is about the song from Caravan. For the song from A Pirate's Tale, see Home (A Pirate's Tale).

**Home** is the seventh track of Caravan. It was originally name *Regards*

## Lyrics

[KATE:] *(spoken)*

Alex?

Ah, geeze, thank God I found you.

Look, we gotta get out of here. T

his place is just way too much.

...Alex?

Alex, are you okay?

[ALEX:]

Floating away from the sorrows I've known

Safe now, at last, in pastel [???] domes

If I was real, I would just let it go

And make this mirage be my home

Drifting along on a breeze and a breath

Let me forget the cruel world that I left

Lay here and never get up, no regrets

Curled in the cracks between death

Oh, why clutch and scrape, holding on

To the ledge around you, the mist swirls and flows

Tearing yourself, fingernails grasp on edge

Just close your eyes, smile and let go

Sell the house, sell the boat

Leave the car and me alone

Trash the job, trash the bones

Leave it all, let it go

Send my regards, I won't be coming home

Wrapped in the womb that I've yearned for for years

Noise dissipates, and then time disappears

Swimming in dreams, finally free from all fear

Don't wait for me, I'll be here

Oh, why clutch and scrape, holding on

To the ledge around you, the mist swirls and flows

Tearing yourself, fingernails grasp on edge

Just close your eyes, smile and let go

Sell the house, sell the boat

Leave the car and me alone

Trash the job, trash the bones

Leave it all, let it go

Send my regards, I won't be coming home

[KATE:] *(spoken)*

Alex?

Alex...

Jesus Christ, what were you thinking?

You can't stay like this.

We can't stay here.

Come on, get up.

Alex, please!

For God's sake -

This is too much.

You can't leave me alone out here!

I don't know where we are.

We're still in the desert somewhere.

Alex.

Alex!

[ALEX:]

Oh, why clutch and scrape, holding on

To the ledge around you, the mist swirls and flows

Tearing yourself, fingernails grasp on edge

Just close your eyes, smile and let go

Sell the house, sell the boat

Leave the car and me alone

Trash the job, trash the bones

Leave it all, let it go

Send my regards, I won't be coming home
Opening

"Opening" is the first track of Miss Helen's Weird West Cabaret.

## Lyrics

[HELEN:]

There's a desert where a carnivale

Hungry, roams round and prowls

Waits to feed, but let's not speak of this now

A frontier town past the desert

Rests here in the queer and quite weird west

Let's stroll its streets as the sun creeps on down

Soon we come to the saloon

Let us stop, shots they are calling our name

Pray we must stay, we've come on quite a day

Miss Helen's one pace from disgraced cabaret

Look round the town's all here, and more

Werewolves recline upon the floor

All is at last more like now than before

Tonight things that circle, wait, and prey

Crouch far enough away, let's play

With your heart, see what it takes it to break

The light dies upon our pale lives

As it rises right now on the stage

Settle back in with your glass full of gin

For Miss Helen's one pace from disgraced cabaret

And now the cast who appears tonight

In our torrid tales of intrigue and delight

I am Helen and I shall guide you through

Tales from our dear town which we'll regale to you

In every tale, a hero must appear

And our sheriff rugged, true, and brave is here

This week, once again he will face friends, I fear

The queen of crime, the sinister Han-Mi

Whose exotic webs of intrigue and deceit

What dark oriental magic she brings to us from the east

[HAN-MI:] (spoken)

Yes, it's the tired dragon lady trope again.

[HELEN:] (spoken)

Let's stick to the script this week...

[HAN-MI:] (spoken)

Come see Han-Mi, the lazy racist caricature from a small minded, bigoted ass hat of a writer...

[HELEN:]

And of course, my friends, we cannot forget

Our Alchemist friend and secrets that he tends

Our curtain has risen, come join us my friends

Our town's like an address to an orgy

For tired tropes and pulp stories

Gaze on the floor once more as they writhe and copulate

Your heart has such sublime ache

An iconic role you'll make, stay

One day you'll appear with us here on the stage

And stay in this saloon, those still sane

Unite here each week for a play

Let’s all drink a shot of whatever you’ve got

for Miss Helen's one pace from disgraced cabaret
Jill

Art by Alyssa Wiswall

Jill is a Post-Human and a member of The August Sky Playhouse.

## Biography

Jill's origin story is told in the Astonishing Tales of the Highly Improbable podcast episodes.

Jill is the daughter of Darla Channing and Dorian. Dorian left due to his drinking habits, and Darla raised Jill as a single parent.

When Jill was six years old, she visited the traveling Renaissance Faire for the first time. When she was there, she saw a ghost boy who was invisible to most people, which indicated that she was destined to join the traveling troupe.

The ghost boy was named Jan, and he was Jill's best friend when she was growing up in the Faire. Jan was trapped on earth as a ghost, and Jill made it her mission to find a way to release her friend. A respected tarot reader named Madame Chatterlaine suggested that Jill learn witchcraft to help Jan and set her up with a teacher.

While growing up, Jill went through an emo phase, a goth phase, an eastern mysticism phase, a hippie phase, a geisha phase (for one day), a furry phase, and amazonian warrior phase. She had three boyfriends and four girlfriends, but Jan remained her best friend throughout.

After many years of studying, Jill had learned enough to cast a spell to create a doorway to Elysium. The first time, she got a minor herb wrong and went to The Crossroads, but on a second attempt they successfully made their way to Elysium. When they arrived, they were immediately in danger of being attacked by creatures. Jan reincarnated, and Jill performed a quick escape spell.

Jill found herself in one of the ultra-dimensions above Elysium, a place that was never supposed to be perceived by human senses. She could not look at her surroundings without descending into madness. She put a blindfold around her eyes and kept recasting a holy guardian angel spell until finally she was rescued by a future version of herself and three teddy bears.

Her rescuers sent Jill to the Metaverse, where she found and entered a tower and met Michael. Since neither of them knew anything about metaspace and how to navigate their way elsewhere, they spent several months int the tower before Asha arrived.

The three of them went in search of The Decadent Abbey, with a goal of finding William and warning him and others about the threat of the gnomes. Their journey was long and complicated, and along the way they learned a lot about their Post-Human skills. They became a proficient con artist gang, and they traveled across many narratives and strands. They reached The Decadent Abbey and got in contact with Lloyd Allen

Michael, Jill, Asha, Lloyd, and David Adams formed The August Sky Playhouse, and together they put on performances such as Caravan and The Dogs Project. These performances were aimed to flower more Post Humans and study more about Post Human abilities.

## Appearances

* Jill is the girl in Cthulhu: The Funksical.
* Jill narrates and appears in The Posthuman War.
Jessica Law

Bandcamp / Twitter / Facebook

**Jessica Law** is a singer, songwriter and podcaster.

## Characters

* Nash Harding and the Secret of the Twisted Tower as The Queen

## Trivia

* Jessica Law was originally announced as a "special appearance" on Nash Harding and the Secret of the Twisted Tower without mentioning her character. Her character was only revealed during the livestreams of the album.
Kola

Asha (descendant)

**Kola** is a side character in the story from Astonishing Tales of the Highly Improbable detailing the life of William.

## Background

Kola was a clerk in a candlestick shop, in a city where demon spiders rampaged through the streets from sunset to sunrise. She lived in the roof of the candlestick shop, and paid an unfair amount of rent to the owner. One day, the members of the Promethean Lodge attempted to rob the shop, but Kola caught them. In spite of this, after they had explained the situation, Kola opted to travel with them.

After jumping Narratives a number of times, losing Jan and Davish along the way, she, along with William and Percy, ended up in a Narrative where desert-dwelling humans lived. The humans native to the Narrative took an immediate liking to Kola, who acted as a mediator between her compatriots and the villagers. Soon, Kola became pregnant by a villager, and the child would be an ancestor of the posthuman Asha. Eventually, she was left behind by William and Percy so the men could explore caves that led to the Dwarves. They promised to return, but it's unclear whether Percy ever did, and William, though he did manage to return, arrived decades after Kola's death, instead meeting her great-granddaughter, Ashanti.
Ocn Ahgg Ja Hqhgji Orj

"Ocn Ahgg Ja Hqhgji Orj" ("The Fall of Avalon Two") is the first track of the first act of The Lost Fairy, and the first track of the album overall.

## Performers

Psyche Chimere as Han-Mi

Lauren Osborn as Symbel

## Lyrics

[HAN-MI:] *(spoken)*

Once upon a time, there was a little fairy. She was frantically fleeing the smoking ruins of her decimated home, the city of Avalon which had been utterly destroyed by the Cascadian military. The only survivor, she was pursued by an elite unit of highly trained soldiers bent on her extermination.

[SYMBEL:]

The men always come with fire and guns

And in their wake they leave ruin and flames and songs written in blood

My sisters so sweet, they fell at my feet

I'm all that is left, it's just me out of breath and still the men come

My sisters and I, we would laugh and we’d fly, plotting mischief and secrets and jests

Games and pretend, giggling girls, summer friends, afternoons we thought never would end

Our songs and our rhymes, we were children and I never dreamed there's a day they'd not be

Beside me, but yet now they’re all back there dead, and the men are now coming for me

The men, here they come, with death and their guns

And in their path they leave bodies and wrath and this last deadly hunt

I flee and I run, but still the men come

And when they arrive with their fire then my race’s race will be run

My city I saw, oh my sweet Avalon, there it burned in infernos of flame

They swept in there then, the great bombs of the men, and all that I loved was ablaze

My people are dead, I am all that is left, I have seen now the fires of hell

And burned in my eyes here before I will die is the sight when my dear city fell

The men always come with fire and guns

And anger and spite blazing out of their eyes like a mad, deadly sun

There's nowhere to run, I'm lost and I'm done

But soon ends my grief, that's the mercy for me from the men who now come
Crier's Boulevard

Crier's Boulevard is a location in the city of New Albion, mentioned primarily in The New Albion Radio Hour, due to it's critical relevance in the resolution of New Albion's Civil War.

## The Battle of Crier's Boulevard

[Placeholder, for any soul brave enough to explain the thrilling events of Crier's Boulevard!]

[This placeholder was brought to you by Papaver Cigarettes]

## Trivia

* Crier's Boulevard is mentioned in passing in the opening of "The Tunnels Beneath New Albion 1", part of Uncle Raven's Super Happy Fun Time Carnival.
Ocn Hhtjm

"Ocn Hhtjm" ("The Mayor") is the first track of the second act of The Lost Fairy, and the fourth track of the album overall.

## Performers

Psyche Chimere as "Han-Mi"

Vivian Moonic as "The Mayor"

## Lyrics

[HAN-MI:] *(spoken)*

Meanwhile, back in New Albion, The Mayor begrudgingly prepared to journey to the park, into the borders of Xandoria. The Cascadian Alliance, having decimated Avalon, turned their attention to the only other place housing a substantial fairy polulation: New Albion. It was there the massive war machine was heading. Xandoria was sealed off, and had recently stopped all communication. Baffling rumors told strange, confusing stories of what was happening in there. Undeterred, the Mayor set off.

[MAYOR:]

It's six o'clock in the morning

Don't even bother asking me if I slept

I'd rather shoot myself then do what I'm doing instead

Which is walk into the park by myself

I got a bottle of meds for my ulcer

I drink about a seven a day

In the park where I go

They all hate me, you know

And it's the place where my son ran away

You don't cry for mercy

You don't cry for help

You don't cry 'cause in this world, you got

You gotta get it done yourself

"Xandoria" they say I should call them

I tried my best to make friends, you know

They suggested I do things rather shocking and crude

So all I did was leave them alone

But one night I came home early

I walked in through the door around ten

And my son wasn't home, he just left me a note

He said he went into the park to live

You don't cry for mercy

Oh, you don't cry for help

You don't cry 'cause in this world, you got

You gotta get it done yourself

I spend my day with dogs and jackals

Politics is always the same

Shaking hands, making pacts with knives held round our backs

We all smile as we push in the blade

So even if Xandoria hates me, I gotta get in there right away

Cascadia says they want the fairies all dead

And their military’s coming our way

You don't cry for mercy

Oh, you don't cry for help

You don't cry 'cause in this world, you got

You gotta get it done yourself

(scatting)

In Xandoria now

Strange things abound

No one who goes in there ever comes out

The spies that I've sent

They don't make much sense

They warn that the fabric of nature’s unwound

Like or not, war is coming

They're bringing on the fires of hell

And we’re all in their sights

We band together or die

So I gotta go convince them to help

You don't cry for mercy

You don't cry for help

You don't cry 'cause in this world, you got

You gotta get it done yourself
Burlap Molly

"Burlap Molly" is the second track of Fairy Tales for the Lost and Wandering.

## Lyrics

Over the miles and the road

Out from the dark, you must go

Go find the man who forgot

The girl who's left lying in the dark

Holly lived in darkness down beneath the city, underground

Her mother was one of many moles, turned away from the sunlit world

No other children lived below, and Holly grew up quite alone

She wondered where her father was, and hoped and hoped one day he'd come

One day, she found a burlap sack, dressed it up, and brought it back

She took it everywhere she went, and it became her only friend

Burlap Molly was its name, and just like her sister it became

With lips made from Holly's blood, when she would sleep, the doll'd wake up

Over the miles and the road

Out from the dark, you must go

Go find the man who forgot

The girl who's left lying in the dark

The doll would wander underground, until it found the way on out

But Holly was afraid to go; the underdark was all she knew

One awake, and one asleep, through notes they'd plan the doll's journey

To find the girl's forgotten dad. To rescue her, the doll would bring him back

So Burlap Molly walks the world to find a man whose little girl

Lives in darkness, doesn't know his name, his face, or where he'd go

Burlap Molly only wakes when Holly sleeps, and day after day

To find the father is her endless quest, so he can carry his child out of darkness

Over the miles and the road

Out from the dark, you must go

Go find the man who forgot

The girl who's left lying in the dark