ISSUE 27 EXPLOITS JUNE 2020 an UN WINNABLE publication

END the POLICE STATE Editor in Chief | Stu Horvath

EXPLOITS A Magazine Dedicated to the Reasons We Love Things

Managing Editor | Melissa King

Music Editor | Ed Coleman

Books Editors | Noah Springer, Levi Rubeck

Movies Editor | Amanda Hudgins

Television Editor | Sara Clemens

Games Editor | Khee Hoon Chan

Copyright © 2020 by Unwinnable LLC Unwinnable 820 Chestnut Street All rights reserved. This book or any portion thereof may Kearny, NJ 07032 not be reproduced or used in any manner whatsoever without the express written permission of the publisher www.unwinnable.com except for the use of brief quotations in a book review. For more information, email: Unwinnable LLC does not claim copyright of the [email protected] screenshots and promotional imagery herein. Copyright of all screenshots within this publication are owned by Subscribe | Store | Submissions their respective companies This machine kills fascists. A N O T E

Black lives matter. Dismantle the police state. Strip all oppressors of the weapons of war and hold them accountable for their brutality. For resources and ways to help and donate: blacklivesmatters.carrd.co (com- piled by @dehyedration)

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It felt strange, assembling this issue of Exploits. Nearly all the words here were written back when we were only (!) dealing with a deadly global pandemic. When you’re sheltering in place, it makes sense that folks are going to want to read, play and watch things, and our specialty is suggesting and thinking about those things. But the murders of George Floyd, Breonna Taylor, Tony McDade, David McA- tee and others – the latest in centuries of unaddressed injustice created by a violent police state – and the righteous howl of rage that rose up in response, made all this seem so trivial. When heavily armed fascists are firing on peaceful protesters a couple miles down the road, the need to appraise the merits of a Star Wars novel or whatever drops below zero. Then there are the protests taking place in other parts of the world: the renewed tensions in Hong Kong against the brutality of its riot police, the protests outside the US standing in solidarity and calling for change, and the movements against racism inspired by the bravery of these pro- testers. But folks can’t fight all the time. When exhaustion sets in, when you need to dial out the terrible static and take care of yourself, we need the stuff that often seems trivial in the face of horror. Beyond this page is a regular issue of Exploits, a series of brief essays and very short media recommendations. In a perfect world, we’d have scrapped it all and put together something that is more reflective of the moment. But if the events of the last several days have revealed anything, they have screamed out the truth that the world is far less than perfect. Regardless, we hope that you can find something here that renews your energy and resolve. Amplify black voices. Be a good ally. Share calls for aid and resources for support. Stay safe out there.

– Team Unwinnable FEAR, LOVE and BROTHERHOOD in 2 by Chase Carter

obody teaches you how to be an older brother. They don’t publish books Non winning most fights but losing the right ones. You can’t take classes on why an adolescent sibling’s adoration sours into an indefinable and inconsolable grudge. No pamphlets will explain the odd loss when they find their own friends and stop constantly bugging you. Instead, you learn these lessons through trial and error. You say the wrong thing, overreact and under-appreciate. You sit in your room, liberated from bunk beds and shared closet space, wondering how someone you thought you knew could change seemingly overnight. You apologize halfheartedly, wishing for normalcy if not understanding. Sean Diaz, the protagonist of Dontnod’s , had only begun these struggles when his father was killed by a police officer, forcing him and his little brother Daniel to flee for their lives. Players follow the pair on a journey to find solace and safety, making decisions that drastically alter their evolving relationship. Sean tries to be both brother and father, protector and friend, to Daniel, suc- ceeding and failing in equal measure. I grew up best friends with my younger brother, two years my junior, and then watched as he stepped out of my shadow and into his own light. Sean’s fears were my own; maturation is a river that depos- its as much as it erodes, and it is just as impossible to control. What else could I do but empathize? Yet, the Diaz brothers claw through a world that fears and distrusts them. They are the children of a Mexican immigrant and a working class man, and my life could not be more different. When I feared losing the respect and love of my brother as a teen boy, I did so while attending public school in a majority white, rural town and never having to worry about how a cop might misinterpret my actions. What right did I have to empathize? Days before picking up Life is Strange 2, I had completed the melancholic Disco Elysium, wherein you play a detective with amnesia. By interacting with the world, other people and your own discordant chorus of thoughts, you gradually recon- struct the psyche of a very particular man. But you start from a point as blank as they come, a far cry from the melange of emotions between Sean and every small moment of his life before the player takes the reins. This contrast troubled me, at first.Disco Elysium’s detective had been designed to reflect choices the way a canvas does brushstrokes; major elements conveying form while tiny moments add depth to the final image. It felt easier to embody a character I had built from the ground up, and my decisions were all the more confident. The jump between each game’s approach to a player’s effect felt much more stark. In the beginning, I wanted Sean to avoid what I had felt at sixteen, when my own brother started making friends and developing a life that didn’t stick me near the center. I wanted to infuse him with my hard-won wisdom the way I had invested stat points in Disco’s protagonist. Wherever possible, I made him kind, patient and understanding. I thought hard about the ramifications of not spend- ing what little money they had on an extra hot dog for Daniel or sitting around a campfire with his crush instead of helping his brother to bed. It was a vicarious dance, a lie. And try as I might to shape Sean into myself, I could not shape Daniel. He was, like many nascent teens, a force of chaos uproot- ing everything around him. He tore himself away from me in scenes of wrenching arguments and bitter tears, moments I had once feared but never experienced firsthand. I wanted to prove my own worth as a brother by saving their fraying relationship. But this was never truly a game about my choices. My brother grew up, regard- less of my intentions. As Sean discovers, the only meaningful decision we can make in the lives of our siblings is whether we want to be a part of it. The ability to “game” relationships has a powerful appeal, and many games gleefully indulge. Life is Strange 2 reminded me that choice, that common whipping post for critics of the melodramatic, more often affects the relationship with ourselves. You cannot control how other people feel. I’m still very close to my brother, despite the physical distance between us. Like Sean, I still worry about my choices but know that mistakes, sometimes grave ones, are inevitable precursors to growth. U MUSIC

WYE OAK – Wye Oak’s new EP, Walk Soft, “Walk Soft,” with its themes about the mys- shows a breezier, more acoustic side of the tery of others’ perspectives and a repeated duo. On most of their previous albums, songs line that “beauty, it is frightening,” is a song that began with mid-tempo strumming and that considers enormity. Perhaps that partly stripped-down beats often gave way to a fire- explains the softer instrumentation on the cracker of screeching guitar. Alternately, on tune, from Stack’s brushed snares and cym- tracks like “Holy Holy” from 2011’s Civillian, bals to the tinkling, wandering keys of its ’s heavy riffs kick off from the outro. Its themes are also consonant with Wye start. From those early releases, Wasner and Oak’s other contemplations of immensity. the similarly multi-instrumental The lyrical differences between some of their built on their earlier, more guitar-and-drums earlier works and their small releases in the sound on Shriek and The Louder I Call, the last few months have been how they approach Faster It Runs. On those albums, they em- immense feelings, from love to the pressures braced moodier and more electronic key- of idealized creativity. boards and beats, with vocal and string wail- Reflecting on “Evergreen,”Wasner describes ing emerging cathartically within more dense her writing process for the song as coming arrangements. In seeming contrast to this, the from a desperate place, immersing herself titular “Walk Soft” is appropriately named. in rote tasks to take her mind off the pres- Nowhere is that shift more present than dur- sure to creatively produce. In sweeping up ing the saxophone outro to “Fear of Heights” needles from a Christmas tree, she found (which titled an EP released last month). herself relaxing and singing aloud, letting Maybe Wye Oak is heading to more acoustic loose. It’s one thing to intellectually absorb territory after working with William Brittelle that one’s worth isn’t linked to bashing out and Metropolis Ensemble in 2018. Or maybe new work, but, as she points out, it’s another this is the confluence of Stack and Wasner’s side thing to really understand and internalize that projects, Joyero and Flock of Dimes. Between thought. From where I sit, writing within an “Walk Soft,” “Fear of Heights” and 2019’s single apocalyptic 2020, letting go of such pressures “Evergreen,” Wasner and Stack’s lyrics have makes a lot of sense. tended towards the vulnerable. Is it any won- – Don Everhart der that their instrumentation follows? MUSIC

PLAYLIST

“Fortune,” by Wye Oak

“Holy Holy,” by Wye Oak

Spiritual America,” by William Brittelle

“Small Town Death,” by Joyero

“Walk Soft,” by Wye Oak

“Fear of Heights,” by Wye Oak

“Siamese,” by Wye Oak

“Logic of Color,” by Wye Oak

“The Louder I Call, the Faster It Runs,” by Wye Oak

“Hey, Ma,” by

“Everything Is Happening Today,” by Flock of Dimes

“This Tornado Loves You,” by Neko Case

“Rhiannon,” by Fleetwood Mac

“Mother (Danzig Cover),” by Wye Oak

“Evergreen,” by Wye Oak

Listen now on Spotify BOOKS

YA FICTION ENDINGS – This piece is exclu- kind-of-boyfriend, a man named Four. It was a sively spoilers. deeply brave thing to do, in a direct contradic- There’s something about young adult fic- tion to the formula. tion (dystopian fiction in particular) that lends Fans hated it. itself to an unsatisfying conclusion,. They’re On the other end of the spectrum, true to traditionally the most saccharine of the series form, there’s the end of the Lunar Chronicles because we can’t write true tragedies for chil- series, a series that otherwise isn’t afraid to pull dren. Everything (or most everything) works punches. Millions die in the Lunar Chronicles out in the end. from disease and literal throat-ripping-out- We can argue that Harry Potter’s world is a murder. But in the finale, Cinder manages to dystopia (it is, though not the most interesting not only defeat the Evil Queen and her entire kind) but it’s remarkably half-assed epilogue galactic army full of mind controlling sorcer- conclusion was incredibly important to my ers and werewolves, but she does so without youthful understanding of how young adult alienating every other political leader in the fiction concludes – everything works out in the galaxy, maintaining a relationship with her end, everyone gets married to their high school Emperor boyfriend and all of her friends sur- sweethearts and you figure out that your main vive and find love. She even has a moment to character was not-so-secretly the jock who be gracious to the abusive woman who raised grows up to be a cop. her. War is hell, I guess, unless you’re in young In 2013, the Divergent franchise concluded adult fiction. with Allegiant and they did something that J.K. This is the nature of the unsatisfying conclu- Rowlings’ TERF self could never even attempt sion in YA. It all gets wrapped up in a pretty – Veronica Roth killed off her main character bow. Unless you’re Veronica Roth or K.A. before the finale concluded. The final chapters Applegate. of the book are from the perspective of her – Amanda Hudgins BOOKS

HAMMERS ON BONE – It’s easy to dismiss PERCY JACKSON AND THE OLYMPIANS this as a gimmick – Lovecraftian (people say – The introduction to Rick Riordan’s uni- this when they mean tentacles) horror writ- verse of gods and half-bloods infuses the ten like a noir film, the pages thick with slat- mundane with the fantastic and humanizes ted shadows of passing cars in a PI’s office, the the mythic. But as a fan of YA and children’s women are all dames and cigarettes burn at the animation, PJO is a particularly rocky intro- end of every mans hand. But once it gets going duction to what has become an exceptional – and it gets going quick, this is a novella after series (the “Riordanverse”). all – you’re left with a gory fun little romp The set of five books lean on “the West,” through that One Job He Probably Shouldn’t ugliness and fatness to develop its antago- Have Taken. It makes me want to pick up the nists, while Percy’s obnoxious teen angst rest in the series. If there’s one critique it’s that about girls undercuts the otherwise strong I wish the book had been a bit meaner, a bit heroines of book three. It’s all a bit child- bloodier, but it’s only the first book ish until somebody dies. Fantasy and con- – Amanda Hudgins sequences maintain a delicate balance throughout the latter half while antagonists intentions develop into something thought- ful, which culminates in a well crafted sub- version of the heroes tale. Ultimately, PJO serves as a misaligned stepping stone for the following series, the best part of which is the indomitable ship that is Percabeth. – Autumn Wright

CAGE of SOULS – When luckless sociologist and catharsis buried beneath the muck and Stefan Advani sets out to save his dying world, gloom. As usual in Tchaikovsky’s work, there’s the resulting backlash brands him a political a thread of hope running through the narra- dissident, sentenced to life on the Island, an tive; even if the world cannot be saved, it will infamous jungle prison. But the internal poli- persist; even if humanity is doomed, maybe tics of the Island are tangled and choking, and humanity itself is not the apogee of existence the jungle is thick with death. As he learns to it assumes. navigate his deadly new existence, Stefan will In the hands of a less accomplished author, need to cling on to his last dregs of human- such sentiments could risk descending into ity if he’s ever to return to his beloved, hated nihilism or misanthropism. Cage of Souls Shadrapar, the last city. merely holds its arguments up to the light, Global pandemic lockdown may not have and lets the dawn illuminate them through been the ideal time to dive into the claustro- the bars. phobic apocalyptica of Adrian Tchaikovsky’s – Rob Haines Cage of Souls, but there’s equal parts hope MOVIES

ONE CUT OF THE DEAD MISSION: REMOTE tion? Definitely not! Just go for it, whatever – One Cut of the Dead Mission: Remote is the happens, happens. And be ready to roll with apotheosis of the quarantine and desktop film. the punches because the network is going to It’s a movie about making a fictional movie have notes. where none of the production team can meet How do you edit this thing together? It’s a because of the pandemic where the actual continuity supervisor’s nightmare! The direc- production team could not meet because of tor knows the details don’t work. It’s fine and the pandemic. It’s meta. It’s brilliant. that’s why it works. There’s a level of faith in Desktop films normally have to work so the project and everyone involved gives it hard to find a context. After a hundred years, their all, both within the movie and in reality. camera conventions are very well understood The originalOne Cut of the Dead was not by audiences. We know we’re the camera and popular due to its high level of polish or pro- sometimes the camera is a character and duction value. It works because it lives and sometimes its not. We’re an eye, embodied or breathes its constraints. It’s a movie about otherwise. Desktop movies are an extra level making a low budget zombie movie that has of contrived that strain to find this same level to be shown live. Things go wrong, the plan- of acceptance. ning was good but not great, but the final That’s a major advantageOne Cut of the product, the film before us is damn good. Dead Mission: Remote has, we know why it Mission: Remote finds that same magic. It’s has to be done this way, none of us can be charming as hell, painfully so at times. And within six feet of each other. don’t worry, I hate the idea of a genre of quar- But how do you make a movie under antine films too. Actually, it would be fine if those conditions? Do you write the script to Mission: Remote is the last movie in that genre incorporate why people can’t be in the same because it perfected it. room? Do you only tell stories about isola- – David Shimomura MOVIES

The EMPIRE of CORPSES – IDK man, if your enslaved person allegory is that an entire planet of persons would have the quantity of soul that would fill the full breasted tits of a single anime girl, maybe it’s a bad allegory. – Amanda Hudgins

ALL THAT JAZZ – My wife recently intro- duced me one of her favorite dance-oriented movies, Center Stage. It was fine. I essentially came away with the same conclusion I al- ready knew going in: I’m not a huge fan of ballet or teen dramas. In return, I introduced her to one of mine: All That Jazz – Bob Fosse’s fictive autobiogra- phy from 1979, starring Roy Scheider as Joe Gideon, Fosse’s drug addled, chain-smoking, womanizing alter-ego. As the movie got up and running with more traditional 1970s The HANDMAIDEN – I’ve hardly watched sets, dotted with sequins and disco beads, anything more mesmerizing than The Hand- my wife was surprised that I recommended maiden in recent months, a movie that’s prob- it so highly. As the movie progressed, the cut- ably best experienced with the barest of prior ting grew more erratic, the cinematography knowledge about its plot, but here’s a quick more surreal, the choreography more cere- summary. A pickpocket has been presented bral and she slowly began to see why I like with the opportunity to pull off the biggest this movie so much. This isn’t a musical as heist of her lifetime: to infiltrate a rich heiress’ much as an experimental art-house film that home and whisk her away from her fortune. uses showtime to explore anxiety, depression Driven by melodrama and intrigue at every and death. turn, The Handmaiden is a riveting watch – Noah Springer that only shows its hand, through plenty of deft maneuvers, towards its finale. And even then – even then! – its labyrinthine plot and Hitchcockian twists, ripe with delectable allu- sions that hint at the film’s true nature, makes this thriller deserving of a second watch. Oh, and it’s also a queer movie that reframes and celebrates LGBTQ+ representation. Why the hell not? – Khee Hoon Chan TELEVISION

STAR TREK: DISCOVERY – For many fans, tales, more like chapters of a book than the Star Trek: Discovery has been a far cry from TV format of yesteryear. the original series they fell in love with – they Discovery has some of the best characters in say it’s ‘not proper Star Trek.’ While the show Star Trek canon, certainly some of the most is different because it is made over a decade believable. Commander Saru has gone on an after the last series, it still retains the morality, incredible personal journey, Tilly represents companionship and love that has made Star society’s current awareness of mental health Trek an international success. issues while still being able to hold down her Discovery’s ‘problem’ for many is that it does job and try to improve herself, while Michael’s not tell its story in the traditional episodic for- journey has and always will be about family. mat. This is in large part because of where it is This is the most important piece of the puz- available. Streaming platforms rarely like the zle. Discovery, like its predecessors, has a great episodic format as it doesn’t keep people bing- focus on the crew becoming a family through ing or desperate to come back for more. There their shared experiences. Its first season con- is a lot to be said for the structure Discovery tained twists a-plenty, double-crosses and an has chosen because it allows writers to tell a entire parallel universe; but it never strayed more detailed, in-depth and character driven from the idea that Michael was redeeming story than ever before. herself and finding a family. In years gone by we would see Janeway fight Star Trek at its core is good versus evil, the Borg one week and then an evil computer where good triumphs through cooperation virus the next, with occasional reference to and friendship. That hasn’t changed. The for- their quest to return home. Discovery instead mat might be unrecognizable, but the show’s focuses on telling one story per season, with values are and always will be there. episodes having their own self-contained – CHRIS KING TELEVISION

TALES FROM the LOOP – I’ve heard Tales From the Loop described as a kinder, more heartfelt Black Mirror. I initially thought that was exactly my cup of tea. I think I was wrong. The first episode is a quiet and lovely and moving meditation on motherhood (even if you see the twist coming from a mile away). The second episode is about two teen boys switching bodies. The overall tone The WIRE – The Ringer just dropped a new matches the first episode, but there is creepy podcast, “Way Down in the Hole,” featuring stuff about girls and consent and identity in Jemelle Hill and Van Lathan rewatching The there. I found it so disturbing that I’ve not Wire. This sparked a little something in me to been able to bring myself to watch more. rewatch the classic HBO tragedy with them, – Stu Horvath which turned into a fire as I binged all five seasons over two weeks. I just couldn’t help myself. The show still holds. Sure, there are some dated parts (people aren’t sure what texting is, Ludacris is on all the radios), but the stories and the hard truths explored in the series stand up. Even in the fifth, and in my opinion weakest season, questions around the value of good journalism, corruption of power and the values society places on mar- ginalized people continue to ring true today. Even though I outpaced the podcast, I’m still excited to hear Jemelle and Van talk through each season over the coming months. Maybe they will inspire me to go back for yet another round when they start season two. – Noah Springer

FLCL – FLCL has been my favorite anime for half my life, I just didn’t know it until now. It’s a polyamorous, bittersweet, Y2K-symbolist love story about strangeness, sex and hope. I can’t possibly think of a better or more com- forting show to quarantine-binge. – Violet Adele Bloch GAMES

PRINCE of PERSIA: SANDS of TIME – It the do-over that countless players have cried didn’t look that far until you’d already jumped. out for as they watched their hapless avatars From the days of Mario, Crash Bandicoot plummet. Readily available at the press of a and Rayman, platformers have plagued button. players with the view from halfway across There were plenty of great touches toPrince – the agony of realizing, mid-flight, that of Persia: The Sands of Time.The parkour- you weren’t going to make it after all. As the platformer broke new ground and laid the Prince of Persia, you cut a more acrobatic foundations for Ubisoft’s future megahit, figure than those heroes, dashing along walls Assassin’s Creed. The story was a fun,Arabian and springing off with gymnastic ease, but Nights-esque tale, told through a sharp script the sinking feeling of making that misjudged and excellent voice acting. But the real stroke jump was just the same. of genius was the dagger – taking the live/die/ There you were once again, suspended repeat logic that had driven videogames since momentarily in mid-air, with nothing you can their earliest arcade days and handing control do but simply wait to die, respawn and repeat of it over to the player. the whole section again. The game saw the eponymous Prince Unless, of course, you had a magic dagger duped by his kingdom’s cunning Vizier into filled with the Sands of Time strapped to your invading another city, stealing their prized side. A click of the dagger’s button would set treasures (the hourglass containing the sands the whole world on rewind, pulling the Prince of time and the dagger to control them) and through the air and softly placing him back unleashing an ancient plague upon the palace, on solid ground. This was the second chance, turning all its inhabitants into monsters. This GAMES narrative setup quickly gives us the basic culpable for the sandy demise of the entire pieces we need. The palace provides a vast palace, including that of his own father, his indoor gymnasium full of obstacles for the quest is more compelling than the standard Prince to bound through, while wandering “kill the monsters/save the world” script of ghouls break up the platforming and puzzle- other titles. His ongoing monologue, which solving with bursts of frantic swordplay. sees him pining for a chance to make amends, In games like these, the player can expect brings the player closer to him as both try to some amount of trial and error. They will roll back the clock to fix their mistakes: the miscalculate the length of a ledge or the player their misjudged leaps, and the prince reach of an enemy’s sword. Maybe they’ll hit his folly. the wrong button. Maybe they’ll react too Many years and a few console generations slowly. But one way or another, they’ll meet later, videogames have adapted many their demise and start again from the nearest storytelling lessons from movies. Intricate checkpoint. motion-capture gave us more life-like While these moments are intrinsic to characters while enhanced graphics lent a videogames, they can break our immersion – more cinematic aesthetic to their set pieces. nothing rips us out of a fictional world faster However, marrying these elements to than a “Continue?” screen and the frustration gameplay has proved challenging, and these that comes with it. But with the dagger, Sands often end up feeling inherently separate of Time folds these failures and missteps into – periods of videogame interspersed with its narrative flow, allowing players to actively moments of cinematic storytelling. Instead, turn back time and try again. The reset routine Sands of Time riddled this conundrum by is no longer a lull moment, but a crucial part ensuring its choices were rooted in the way we of the narrative – a tool they can use. play, crafting an experience that was ideally The time-rewinding mechanic evensuited to very medium of videogames. channels the central theme of Sands of – ROSS Mcindoe Time: second chances. Because the Prince is GAMES

ANIMAL CROSSING: NEW HORIZONS – FROG DETECTIVE 2: The CASE of the Sometimes my mother messages me and INVISIBLE WIZARD – Hi guys, I’m Lobster asks me what I’m playing and I tell her that Cop, a colleague of Frog Detective, and I’m I’m playing Animal Crossing: New Horizons here to tell you why you should give Frog on the Switch, and she asks me if she would Detective 2 a shot. Firstly, it’s the famous Frog like it and I say she probably wouldn’t. She Detective’s second most successful case he and my father are currently playing three has ever cracked – which can be tough when hours of Diablo 3 a night. Every night I take you have to pay close attention to words and Sara Clemens advice and put my villager into pictures. Secondly, Frog Detective did ask a more comfortable outfit, removing their me to recommend this to my friends, but I glasses, sliding on some slippers and putting have no time for friends because I’m too busy them into bed. busting crimes. Crime never pays, so you – AMANDA HUDGINS have to always stay vigilant. Thirdly, it was good that Frog Detective decided not to be a little cleaning frog anymore, because he is so much better as a detective! I don’t see him doing any cleaning around here anyway. And anyone can be a detective, really, as long as you have a notebook and some stickers. Here is my official recommendation. Go forth and fight crimes! A SHORT HIKE – What is it like to hike – (Ghostwritten by Khee Hoon Chan) leisurely along open grassy stretches and mossback boulders of a scenic park, with- out worrying that your strained lungs will implode from sheer exhaustion? That’s what you get with A Short Hike, where you mean- der around Hawk Peak Provincial Park as a laidback and surprisingly athletic young lark named Claire. This quaint little exploration game is a reminder of the beauty of the wil- derness, particularly in its capriciousness: you can experience the autumnal warmth of toasting marshmallows under the amber skies of dusk, to the freezing, wintery peak of its mountainous terrains all in one island. I’ve never really been one for the great out- doors, but now I can’t wait to dig my shoes dirty into muddy trails again. – Khee Hoon Chan HOROSCOPE

Nebulae shimmer in the void, off Orion’s shoulder. Layers twist in strands, like rope, like braids, like hair; soft and gen- tly curling. Maybe you’ve fallen asleep in a chair at a hair salon, and the world is nothing but a bad dream. Maybe you’re awake, and you miss your hairstylist. U

Celestial signs interpreted by Violet Adele Bloch