What exactly is "Family"? Is it just a word used to label people who are blood-related? Dianne in the beginning believes so. but throughout the exploration of different kinds of experiences Dianne has a very different meaning to the word "Family". Read and Find out. What exactly is the definition of... Family?

200 years ago man created the greatest AI known but this Machine eventually grew a mind of its own and evetually it's own body, it rose up with others like it against the human race this battle went on for about 20 years and nature and most resources were dieing off cause of the continuing battles but the final battle it released a large blast but is wasn't a bomb it was something else entirely, the machines had something hidden down their main base, something that wasn't human or machine something not of this earth, the blast brought back nature it changed it along with the humans and Machines closes to the blast.....both of them went a evolution of some sorts and because of this both sides where able to form a peace ending the war



Lia Giles became a border guard and mechanic for the power lines on the in between of the main city and the unearthly forests, no longer being able to stand living in the high technology world where humans are treated like second class citizens. On one of her patrols she discovers something or more like someone that no one has ever seen before.

This is just a Book filled with words and it's definition. 


Hope you enjoy.



Word: A speech sound or series of speech sounds that communicates a meaning.

This is just a Book filled with random words and it's definition. 


Hope you enjoy.



Word: A speech sound or series of speech sounds that communicates a meaning.

A grandpa who doesn't have long to live(?) found an interest in the newest VRMMO introduced by his grandson and the definition of the mage needed to be rewritten after that.

Ickapoo wants meaning. But meaning is not ambiguous.It is Absolute truth.
King Lear’s tragedy has often been compared to the biblical Job’s, in which suffering enables Lear to move from blindness to insight. This however, overlooks the fact that Job was blameless and being put to test by Satan and God, while it is Lear’s folly and blindness, due to his excessive wealth and power, which leads to his downfall. It is Lear who foolishly banishes Cordelia from his kingdom because she does not hyperbolically flatter him like her sisters, leading Lear to endow his fortune upon the scheming and hypocritical sisters Goneril and Regan, who eventually drive Lear out dispossessed and mad as a consequence of their ingratitude. Lear, brought low by suffering, eventually comes to see how foolish he was to banish the only daughter who truly loved him from his kingdom and to give in to flattery and sweet talk by Goneril and Regan who are truly evil and scheming as well as ungrateful. Suffering thus leads to insight about reality and truth, as well as moral growth. Here is a king, who owing to possession of power for too long, is blinded by power to who his true friends and allies are, only appreciating those who exalt him on the surface and are generous to him only in appearance, while his true daughter who genuinely loves Lear is banished because she refuses to stoop to flattery.
	One might also read the play deconstructively and see how good defines itself as the exclusion of evil, it is only in relation to the evil of Goneril and Regan that Cordelia’s nature as a kind and good person shows, it is necessary for the perversion of justice by Goneril and Regan to take place to show how truly kind, good and pure Cordelia is when she comes to Lear’s rescue and does not grudge him for banishing her from her kingdom, it is the opposition of their evil to Cordelia’s goodness that justice, truth, mercy, goodness and charity are defined, so while one disapproves of Goneril and Regan’s treatment of their father, it is necessary for their acts of darkness to define in contrast the mercy and charity of Cordelia.In this way it is shown that good does not exist in isolation from evil, it is necessary for good to exclude evil as a polarity and contrary for it to be defined.Cordelia’s goodness and kindness only gains meaning in opposition to the evil of Goneril and Regan, her goodness is only illumined in relation to their darkness and evil, hence the play demonstrates that the act of evil, while reprehensible, is necessary to exist so that good may be illumined and defined, as such evil is a necessary metaphysical opposite and contrary that good needs to exclude and battle against in order to define itself
	The play is also a powerful commentary on the destructive and all-consuming nature of evil.Good has little power in relation to evil and darkness.Cordelia’s meekness  and Christian charity have little power in opposition to the schemes and darkness of Goneril and Regan, just as Edgar has little power in relation to the destructive evil of Edmund, but their oppression is temporary as divine justice restores the reputation and integrity of the good. Indeed, it is only a temporary victory that Goneril,Regan and Edmund have over Cordelia and Edgar, because divine justice sees to it that their deeds of darkness are duly punished and name and integrity are restored to Cordelia and Edgar.
	The play as such is about the redemptive nature of suffering, in this context, the play could be called Jobean. Lear is driven mad by the realization that he has wronged Cordelia and bequeathed his kingdom to ungrateful and evil daughters, about how blind and foolish he has been, it is his subsequent suffering that restores insights about truths he had been blind to such as Cordelia’s true goodness. It is thus Lear’s suffering that spurs his moral growth and humbling insight that appearance is not the true measure of reality or truth. Madness thus paradoxically comes with insight, it is only in madness that Lear apprehends the truth, while in sanity he had been blind to the superficial flatteries of Goneril and Regan.
	I would however qualify a deconstructive reading of the play as while it is necessary for evil to be conceived in order to envision its metaphysical contrary good, this does not place good and evil on an equal basis as deconstruction would argue. The vision of the play is not thus deconstructive but Christian, in which divine justice restores the name of the good such as Edgar, Cordelia and Kent and good is valued clearly in a superior position to evil. This we see through Lear’s recognition of his blindness and folly to Cordelia’s goodness, and eventual reconciliation with her though she tragically dies. Goneril and Regan are also duly punished for their darkness and evil, as one is killed by the other out of jealousy over Edmund while the remaining sister commits suicide.The idea of suffering being refining and ennobling has clear origins in the bible. Hence I would hesitate to call the play deconstructive as though it is in relation to the darkness of her sisters that Cordelia’s virtue derives meaning, the play clearly exalts good over evil as we see a moral progression in Lear’s choice of Cordelia as his true kin over Goneril and Regan, who have been ungrateful and ruthless in usurping Lear’s property.
	Shakespeare was thus not a moral relativist though he employed metaphysical structures of good and evil, in that he clearly exhorted the choice of good over evil as seen through the redemptive nature of Lear’s suffering and his journey of blindness to insight and his clear choice of Cordelia over Goneril and Regan. The play is clearly moral in its vision and not locked in paradoxical indecision as deconstructionists would argue, its vision is clearly Christian through its choice of truth, mercy, virtue and goodness over evil and destruction. The play is not about moral paralysis and indecision about choosing between good and evil as a deconstructionist would argue, its vision is distinctly Christian in valorizing good over evil and depicting evil as something abominable and that suffers consequences such as divine retribution. Hence, Shakespeare in no way demonstrates sympathy for the devil as Milton does, while good and evil are depicted as metaphysical polarities and contraries Shakespeare is quite absolute in depiction of good being superior to evil. Lear, while choosing evil over good initially due to the seductive nature of its appearance, is brought through suffering to recognize the inherent moral superiority and beauty as well as value of the good and truth over lies and evil. Indeed, Shakespeare’s vision is Christian to the extent that he depicts divine retribution for Goneril, Regan and Edmund as well as clear sympathy for the innate superiority of the virtue of Cordelia and Edgar to their evil counterparts.
	Evil is thus depicted as a force which is highly seductive and deceiving, as Goneril and Regan win their inheritance through flattery initially, but is destructive and self-destructive as these initial allies turn against each other and murder each other as well as betray each other and experience no solidarity in the end. Evil brings temporary victory and is more vital and domineering than good but turns against itself in the end as its selfishness and self glorification brings about its own downfall.
	Truth is thus absolute in the play and it is depicted as Christian, as it is demonstrated that divine justice exists through the divine retribution that Goneril and  Regan suffer. Indeed divine order had been disrupted in the play through Lear’s choice of Goneril and Regan over Cordelia, thus introducing chaos and destruction in the kingdom, culminating in Lear’s descent into madness on the heath. Divine order is only restored through Christ figure Cordelia’s atoning death and the restoration of good to the kingdom. I would also qualify evil as the impossibility that makes good possible as evil is depicted as the absence of good rather than the condition of possibility of good as deconstruction would argue. Evil and sin are depicted as lapses, imperfections that fail to measure up to the absolute standards of good and morality rather than as necessary conditions to the thinking of good. Indeed, evil is depicted as something destructive that ought to be eliminated in order to restore order to the kingdom rather than as something to be tolerated as a condition of possibility. 
	Hence while it is now fashionable to perform post-structuralist readings of Shakespeare’s plays, these are not faithful to the religious and moral outlook of the plays. Indeed Shakespeare may justly be accused of being essentialist but would wear the label proudly when it comes to where his moral and religious allegiances lay. The existence of divine justice and retribution in his plays, especially his tragedies from Othello to Macbeth and Hamlet to Lear show that Shakespeare subscribed to a divine cosmos and largely Christian universe in which evil did not go unpunished and order would eventually restored to the kingdom where a moral transgression had been made, such as in the case of Hamlet where the adulterous usurper of the throne is eventually brought to death by Hamlet. The tragedies normally begin with order being disrupted by a moral transgression but typically end with moral order being restored and the moral transgressors being brought to justice.Furthermore the play does not demonstrate that there is no difference between good and evil as deconstruction would argue but that there is an essential moral hierarchy with good being the ascendant value. Evil is shown to bring chaos to the kingdom which eventually goes punished by divine retribution and order being restored to the kingdom with the good cleared in name and restored in reputation. I would thus argue that Shakespeare had no postmodern sympathies and was quite absolute where religion and morality was concerned.
	Hence it may be not be relevant to associate Shakespeare with postmodernism where his religious and moral convictions lie.Indeed, evil is shown to be a necessary structural metaphysical opposite to good but not defined by Shakespeare as its condition of possibility but something to be defeated and overcome. Indeed this moral defeat of evil is normally brought about in Shakespeare’s plays through the enactment of divine retribution and a restoration of the moral universe and Christian cosmos.Indeed, it is popular to subscribe to postmodernism and moral relativism in the contemporary world.Faith has declined in modern Europe and there are even atheist preachers in some Scandinavian quarters. However I would argue this was not the context of Shakespeare’s time. Faith had a strong foothold in much of Europe and this was the reason why the cosmos of Shakespeare’s plays were largely Christian in which themes of redemption and divine justice and telos were prominent. Hence good and evil are not merely relative designates defined in opposition to each other but metaphysical absolutes that are distinct from each other. Evil may be defined as the absence or privation of good, and evil is a falling short and missing the mark of good, which has an absolute, not relative value. Good is the absolute value which evil falls short of, is defined as its absence and privation rather than its conceptual opposite. Indeed the problem with seeing good and evil as mere conceptual opposites is that there is no moral basis to judge the value of these opposites.Good and evil are moral qualities rather than mere metaphysical opposites.The problem with a postmodern reading is that it does not account for the moral telos and order that is demonstrated in Shakespeare’s plays. While this statement may make one vulnerable to accusations of religious and moral fundamentalism, there is nothing relative about the eventual defeat of evil in Shakespeare’s plays.Shakespeare was firmly absolute about the vindication of the good and the defeat of evil in his plays, hence postmodernism, while fashionably associated with his plays structurally, does not apply morally or religiously, which were by and large Christian or at least a moral cosmos in which evil was duly punished and the name of the good restored and vindicated.
	I do not deny that it is necessary to conceptualize evil as the metaphysical contrary of good in order to conceptualize it. This is the post-structuralist assertion. But I argue that good and evil are not mere metaphysical concepts, they are moral and religious values which have absolute rather than relative foundations. These foundations are of divine origin, originating from God the absolute origin who revealed his will and ways through the Word. Perhaps Shakespeare would contest the idea of truth as relative and be criticized for being essentialist, but this is what the ideas of divine justice and telos and a moral order to his cosmos show. I would argue that Shakespeare was essentialist in an unapologetic way because there is nothing relative to the divine punishment of evil in his plays as well as the eventual victory of the good in Shakespeare’s plays. Even if good does not eventually triumph, as the death of Cordelia shows, it is at least valorized over evil and ranked as superior to evil in Shakespeare’s plays. Shakespeare often depicted the struggle of good in relation to evil, one does not contest that, but valued good infinitely more than evil and was in no way a sympathizer to the devil as evil is invariably defeated in his plays and the moral order restored. Hence postmodernism, while very fashionable today, may not be historically relevant to Shakespeare’s plays, which are arguably humanist and about timeless truths such as the eventual defeat of evil in a moral cosmos in which evil may reign temporarily like Goneril and Regan do but will eventually be defeated by good as the restoration of Edgar to the throne shows. While this assertion may render one vulnerable to the accusation of religious and moral fundamentalism and less complex than the world may be, the morals of Shakespeare’s plays are resolutely absolute and not ambiguous in their eventual restoration of divine justice and order.The endings of Shakespeare’s plays are not sites of moral ambiguity but about the reign of the will of a divine being whose ethics are moral, vindicating the good and defeating the evil. The ending of Lear is not morally ambiguous in any way. It shows the restoration of the virtuous Edgar as king. It shows the defeat of Goneril, Regan and Edmund. It shows that evil does not go unpunished by the divine order unfolding in history. It does not sympathise with the devil as it is shown that evil will eventually destroy itself and suffer conequences for its transgression and oppression of the good. Shakespeare as metaphysician shares more in common with the idealists than post-structuralists because his ethics had a foundation in an absolute origin rather than a nothingness or emptiness.Shakespeare chose good over evil and was not ambiguous morally.


It was the year 2046. In the distant and faraway planet or Yr lived a lonely alien named Ickapoo. It had no friends as all its species had been vanquished from a meteor storm. In its solitude and misery it pined for a companion.
Yr was a bare and inhospitable planet. With winds blowing at 150 km an hour, it was virtually impossible to see past the blizzard and storm. Ickapoo yearned for friends and company. Many a time he fiddled with his transistor radio, sending out messages and hoping for a response. He sent fire launchers and rockets into space, hoping that some space traveler would find out about his existence. Ickapoo was an alienated alien. In the same way humans wondered whether we were the only species to inhabit the universe, Ickapoo felt estranged and isolated from the rest of the cosmos.  Join Ickapoo on his escapades across galaxies and worlds in search of company.
Ickapoo the lonely Alien, 2046 is created by Chung Chin-Yi , an eGlobal Creative Publishing Signed Author

Alt Title:  Hadestown, Optimistic Futility, and Discrimination
 You walk along that path, sandwiched between dorms and an oddly empty field.  You wipe some sweat off your forehead.  Oh, that bloody midday sun.  Fucking hell, it's only November as well.
You walk by someone.  They're walking in the opposite direction, presumably having just finished a class.  They're on their phone, talking to someone, and you inadvertently hear
"Yeah, I just finished class;  you know the one where the group's homophobic and racist"
Presumably, they didn't say semicolon aloud.
***
Recently, as I was browsing through the forums that I had visited as a bored kid in maths class, I stumbled upon a transgender thread.  In it, a transgender person challenged supporters to ask their family members and friends this question:  "If I were transgender, how would you feel?"  
Now, this is not a new question; it was and will continue to be used when the rights of homosexual people are in question; it was, and will continue to be used when the rights of disabled people are in question.
However, when I read it, I brushed it aside.  I thought, "(hypothetically), if I ask my parents or friends that, it would be quite ridiculous."
Now, in hindsight, this is clearly indicative of implicit biases.  Doubtless, there are real transgender people asking their parents this very question.  Doubtless, their parents' response will have an enormous impact on how they see themselves.  
So, when I brush off that question as ridiculous, I am revealing my implicit biases.  What, are transgender people ridiculous?  Are their experiences, the way they live through this world, are they ridiculous?  Are their experiences lesser or inferior to that of a cisgender person?
Of course not.  
Ask me that question directly, and I will answer "no".  But through these exercises, we can shed light unto our implicit biases.  Biases that will affect how we view other people, and ultimately, how we treat them.
And these biases, they're not singular biases.  They have layers.  Like an ogre.  Or an onion.  They are built up by our environment.  They are multifaceted.  And ultimately, they will affect how we treat, how we talk to, and how we affect others (unless you seclude yourself on an island).
A further example of implicit biases.  It is a fact that most Indigenous Australians live in urban or regional areas.  Yet through their portrayal in the media, through the emphasis on remote communities (which is not to say that we shouldn't listen to the stories of those who live in remote areas), an image of a poor, remote, Indigenous Australian has formed.  
And what are those Indigenous Australians depicted as?  Well, they drink, they sniff petrol, they have bad habits, they're a lost cause.  
What nonsense.  
But these portrayals, and these implicit biases have real impacts on how we move forward as a society.  Even the most good-hearted of intentions are undone by these biases.  We have implemented in some areas a cashless welfare scheme, that those on the scheme have a certain amount of credit to spend on approved items; a social credit system, if you will.  
And one can see the reasoning behind it.  If Indigenous Australians drink, then removing their ability to purchase alcohol will surely reduce their drinking problems.  
The only issue?  
It's built on a faulty premise.  It removes agency and autonomy from the very people we are trying to help.  The very fact that it's a top down approach, the very fact that we are trying to help in such a manner is flawed.  
In trying to become saviours, we have become little more than neo-colonialists.  Our biases have once again shot us in the foot.  We claim to want to bring everyone to the table, but in the end, we're sending the oppressed back to the children's table.


One more example, for its own sake.  When I went to high school, the arts, well, they were a joke.  In an academically selective school, the arts, they were looked down upon.  You'd hear jokes:
"What do you want to do in uni?"
"An arts degree, lmao"
Our parents, our family members, members of our community, they'd stress the importance of getting a good job.  A real job.  Whatever that means.  And that spread to us.  50% of the school said that they wanted to study medicine.  Almost the entirety of my cohort now studies a STEM subject.  Hurrah to the real jobs.  But in reality?  Art contributes to the economy as much as STEM fields.  Art employs people, entertains people, moves people.  And before anyone says "well, you're just an arts student hyping up art courses."  I'm studying med, damnit.  
I've said this to my friend, and I'll say it again.  The greatest dream of them all is when doctors will finally be able to put down their instruments.  The obsolescence of this proud profession is the ultimate dream.  But as for art, we cannot say the same for artists.  They must never put down their instruments.


So how does the musical Hadestown play into this?  Now, Hadestown isn't explicitly about these biases, and the resultant acts of discrimination.  It's about the struggle to form a better world, a world where there's enough to go around for everyone.  It's about the walls we build around ourselves.  But ultimately, it is about daring to hope.  Daring to hope that something will change.  Daring to hope that maybe, just maybe, we will finally get a happy ending.  Daring to hope in the face of institutions far stronger than any individual, and social structures far larger than any community.  In that sense, this optimistic futility, this desire to tell tragedies in the hope it will be different, is a very modern sensibility.  A very metamodern sensibility.  The oscillations between hope and despair, the oscillations between a dogged refusal to accept our social contract, and the ironic detachment from this unspoken law, these are the hallmarks of our age.
And so we gaze at these nefarious biases.  We may never rid ourselves of these perfidious thoughts entirely.  We may never exorcise these blemishes.  Our good intentions may forever be stained by biases.  But ultimately, what matters, what helps people, what enables us to move forward, is to recognise these biases.  It is to examine ourselves, our thoughts, our actions, and from them, to struggle against these biases wherever they may appear.  
In our lifetimes, we may not achieve equity amongst the Indigenous peoples of Australia, the first peoples of this continent.  In our lifetimes, we may not achieve equity for disabled people, transgender people, homosexual people.  These may just be ideals, these may just be cries into the void.  
But these ideals, are they not beautiful ideals?  And these cries, do they not resonate ever so clearly?  
Modernism failed us in its promise of an utopia, a shifting formless land, where those who are left behind are forgotten.  Postmodernism failed us in claiming an end to history, that everything has been accomplished.  Utopia has been delayed indefinitely.
But now, lo and behold!  Postmodernism is dead!  We now must drive towards utopia, confident that we will never reach it.  We must approach the next day, regardless of its apparent futility.  We shall wander the desert, hoping for paradise, knowing that these 40 years may span an eternity.
These biases may colour our thoughts, may force us to strike our brothers and sisters down.  We must not stand down.  We must struggle.  We must dare to hope.  For there is no alternative.
Long live Sisyphus!

Freud diagnoses you with penis problems!

Presenting:
-a low effort shitpost

-a story set in Death

-some drunken tirade

-a collection of poorly written non-fiction works

All bundled up in a shitty schedule, where the only consistency is its inconsistency.  You can probably tell which ones are easier to write.

"Ok," said Paul, "we have classes to teach, so we'll see you at the cafeteria at lunchtime."
"Yeah, yeah," said Swindle while glancing at the college buildings. He had never been in that place, so he could waste a day or two checking it out.
"You better have stayed with our mother," said John.
Swindle felt bored just by hearing that idea.
"The nurse's taking care of her," he said, "and if she's not enough, I can hire another one."
John glared at him for a moment, and then, with Paul and George, headed to his respective classroom.
Swindle, then, started to check out all the college buildings. There were a lot of young students he could swindle so easily—they seemed as innocent and pretencious as his brothers—he only needed to think how.
When he got to the library, he found a very well dressed old man. He seemed to be very busy investigating something. Swindle was a little curious to know why a man so old was wasting his time with school work.
He sat beside him and asked:
"Sorry to bother you, but what are you doing?"
He, without looking up from the sheet of paper on which he was writing on and all the books that he had open around him and that he read from time to time, replied:
"A thesis about postmodernism and its relationship with the 20th century absurd presented in James Joyce's Ulysses, chapter 15," Swindle didn't understand a single Word the old man said, but, thanks to his experience dealing with his brothers, he knew all those words didn't have any meaning to him because those words had no importance in the real world. "It's for my PhD."
"So, what's your PhD about?"
"James Joyce."
"So, you're studying a PhD about only one writer?"
"Yes."
"And it's there a lot of demand for James Joyce PhD's?"
The old man smiled.
"I guess not," he confessed, "but I really love it, even though I'll only end up as a tutor for those who want a James Joyce PhD."
At that very moment, Swindle had an idea."
"Hey, be a good man and lend me a piece of paper and a pen," he said, the old man obeyed.
And Swindle Jones began to write.

These are the infamous stories of Ringo Jones -or Swindle Jones as his friends call him, and that's why he never mixes business with friendship- a professional scammer who, throughout his life discovers that the biggest scams are in the most prestigious institutions we have, like colleges, stoke brokers, hospitals and so on.
The world is a scam, and humans, just a bunch of scammers.

Blacklight Biotechnology, full name Blacklight Biotechnology Limited Company or also known as Blacklight Corporation. Its industry sectors included biopharmaceuticals, bionic medical, electronic technology, security, military aerospace, mineral resources, and other industries. It was a company wholly dedicated to diversified development especially in emerging industries.
Blacklight Biotechnology had nearly a hundred branch companies under its wing. The central ones among them were: Blacklight Biotechnology Central Continent Head Company, Blacklight Biotechnology African Branch Company, Blacklight Biotechnology Northern American Branch Company, Blacklight Biotechnology North Sea Branch Company, Blacklight Biotechnology European branch companies, and so on.
All of these branch companies had further subsidiaries in their respective region to handle the company's operations for them. The shadow of Blacklight Biotechnology loomed over nearly every major city in the world.
In addition, Blacklight Biotechnology also had a large number of subsidiary companies which included: Los Angeles Osmond Biotechnology Limited Company, Preston Biotechnology Limited Company in Switzerland, Tara Strategic Resources Limited Company in Africa, and so on...
Blacklight Biotechnology was what legends were made of, starting from a whisper to a slowly garnering international attention, and then till the Project Xingtian that launched it into international stardom. This was soon followed by renowned cancer and Alzheimer's disease targeted drugs, all of this only within a few years...
Over the last few years, Blacklight Biotechnology also expanded its reach into electronic technology, military, and aerospace sectors. The results of their endeavors were exactly as one might expect. Around the middle of 2025, the astounding CUERB Project was launched and that was when the world came to realize that Blacklight Biotechnology had taken a massive stride and ascended itself to a technological giant at the forefront of the world.
...
On a certain day three years later.
A haggard-looking young man with an unshaven beard on a wheelchair arrived at the gate of Blacklight Biotechnology Northern America headquarters in the Reston neighborhood of New York City.
His arms were fully intact and there were no signs of a urinary catheter attached to his body so he could not have been suffering from paralysis. However, the sections of his body were cut off below the knee.
Pedro Lane was a young man who had recently lost his legs.
He sat inside his wheelchair, disregarding the strange looks that passersby threw at him as he gazed upward at the enormous skyscraper several hundred meters tall.
This building was a modernist level 5-A office building that stood roughly three hundred meters tall. There were a total of one hundred and one floors in the building. The building shape took on a unique polygonal structure that made it double as a landmark in the Reston district.
Sitting atop his lap was a filled-out registration form with the Blackwatch logo stamped on top of it.
At the time, the gigantic LED panel on the exterior building was playing all kinds of news footage concerning Blacklight Biotechnology.
After the previous news clip ended, the figure of three people appeared on screen, their appearance was accompanied by passionate jazz music.
The three dark figures stood tall amid the darkness and flames and as the camera panned closer, their appearance was finally put on display.
Among the three of them, two were white men while the other was a black man. They had their arms across their chest as they faced the camera. They appeared confident and unyielding, evoking a powerful sense of justice with their posture.
The member at the center of the group suddenly proclaimed, "Severely crack down on any form of crime and resolutely defend the rights and interests of every citizen!"
After that, another man who appeared slightly younger also proclaimed, "Every second count, for every second wasted could mean another innocent citizen's life lost!"
At last, the black man followed. "Justice may be late, but it's never absent!"
"Courage!"
"Honor!"
"Sacrifice!"
The three proclaimed in unison and stretched their arms outward to stack their hands together. They looked together at the camera. "We're the BHB Combative Police Force. Join us to preserve world peace and protect the right of public citizens. Blackwatch is always waiting for you to enlist!"
At last, their figures faded out from the view of the camera as a sentence appeared on the screen. "Blackwatch is recruiting combative police, anyone is welcomed to the trial training."
When Pedro Lane saw the world-renowned legendary figures appear on the screen, especially the captain leading the trio, an icy and hateful glare gleamed in Lane's eyes.
The image on the display switched again within seconds. A fair-looking girl with a somewhat stiff expression appeared on the screen. She was facing the camera and held her arms out in front of the camera enthusiastically and said:
"Xingtian series home Androids will soon be inducted into thousands of households. I'm your family nanny Xiao Ai, take me into your home!"
"Bang!"
Before the commercial finished, a beer bottle was suddenly thrown onto the display. It shattered on the ten-meter tall, gigantic display and left a very visible hole in the middle of the LED screen...
Lane was caught off guard by this and immediately snapped his neck around to investigate what was happening. He saw dozens of poorly dressed middle-aged people holding banners with written slogans on them. They stood in a formation behind him and started shouting at the Blacklight Biotechnology building.
Various quotes were written in a poor font using a red marker on the boards they held. "Androids stole the work of the poor", "Androids are a manifestation of sin", "God created mankind, but did not create Androids", "The purity of mankind should not be desecrated" and so on.
So, it was the protestors that boycotted Blackwatch's Androids...
Pedro Lane shook his head at the sight of this. He turned around again and saw eight security guards wearing bulletproof vests with the Blacklight Biotechnology logo printed on it. They swarmed out of the building with batons and explosion-proof shields and charged past Lane as they went after the group of protestors dressed shabbily in common clothes...
The following scene went just about as one would expect.
Lane paid no further mind to the commotion. He took a deep breath and made sure he looked presentable before he wheeled the wheelchair through the main entrance of the Blackwatch headquarters.
Upon entry, he saw the enormous lobby that was unlike the lobby of any other common office buildings. A stupendous amount of effort clearly went into the renovation of the lobby. The floors were clad with black marble tiles, the furnishing was mostly silver color and looked highly futuristic, the table and chairs were clean, transparent, and made of glass. The atmosphere of the lobby gave a powerful postmodernism impression.
Lane became slightly nervous and took a large gulp. When he approached the counter, the staff at the counter greeted him with a smile that could wipe away a person's worries. "Welcome, honored guest. I'm Android 3199 and will be your receptionist for the day, how can I help you?"
Lane realized the identity of this lady upon hearing this greeting. He shot a look of slight amusement at the receptionist and asked, "Hi, I'm here for the application to become a combative police."
With that, he handed the application form over.
The Android lady raised both her hands and politely accepted Lane's form.
After a quick round of observation, Lane quickly noticed that although the movements of this lady in front of him were smooth, it was not completely natural. Her movements were almost mechanical and did not contain the hint of fluidity in a regular person's movements.
Despite this observation, what he was looking at was rather impressive already. Unless one were to pay extra attention, it would be hard to distinguish the difference between humans and Androids at first glance.
The lady receptionist only glanced at the form briefly before looking up again and informed with a warm smile, "Dear Mr. Lane, welcome to the application for Blackwatch's Combative Police Force. We at Blackwatch are now collaborating with the Northern American District Police Department, I will now enter your information into the company's intranet and the New York City Police Department database. This is your number. Please head to the second floor for registration, be sure to queue..."
With that, the lady stretched out her hand again and handed a silver electronic card to Leon.
"Alright, thank you..."
Lane nodded and accepted the electronic card. He unintentionally grazed against the slender fingers of the receptionist while receiving the card.
The lady receptionist's skin was warm and had a tender texture one would come to expect of human skin. Lane had the faint impression that he was touching a real human...
Androids did not have any self-consciousness so the girl did not respond to Lane's actions. It only smiled and watched as Lane wheeled off in a wheelchair.
Upon arriving at the second floor and exiting the elevator, Lane saw applicants sitting in rows upon rows of sofa lined along the corridor. Some of them wore bionic prosthetics while the less fortunate ones like himself who could not afford prosthetics had to be bound to a wheelchair.
These were the disabled members of society also here to apply to be a part of Blackwatch's Combative Police Force.
All major cities in the world that had an established Blacklight Biotechnology branch company also had a branch of the combative police force that was tasked with maintaining the order of the city.
The combative police department was a part public and part private department. Any members enlisted into the department would take on two roles, one of which was a police officer of the city while the other was as an employee of Blackwatch.
This job was an excellent deal for the disabled, but unfortunately, not everyone could join the combative police department. Needless to be said, the first prerequisite was to be a disabled person, it was also ideal to come from a police or military background. It was not a deal-breaker to not come from such backgrounds, but unless you were very physically gifted or trained in combat, the chances of being selected were bleak.
Lane picked a corner and waited silently. He looked at the electronic display mounted to the wall. It was flashing with the notice "New York City Bionic Combative Police Audition" with a number below it. The display currently showed the number 21.
Lane took a look at the silver-plated card given to him by the receptionist, it read 39.
Hmm, looked like there were still eighteen people ahead of him, better wait patiently...
Lane put on earphones and immersed himself into his world.
After approximately half an hour had passed. Lane took a look at the number in the office again and saw that it now read 25. He frowned upon noting this. Fortunately, there was an Android waitress serving water and offering diligent service for the applicants waiting here.
Lane could not help but silently reflect on how the Androids developed by Blackwatch were the perfect choice to fill a position like a nanny that required one to be hardworking, attentive, and respectful. All that and no slacking off.
Whether it was by intention or not, one clear observation that could be made was that these Androids were designed to be very attractive. Any one of them could pose as a supermodel celebrity in real life. Apart from the occasional awkward movements that outed them as Androids, there was pretty much no other tell...
Lane had also heard the occasional remark from his Internet friends that these Androids had spectacular physical assets as well. They could easily pass as premium inflatable toys in bed...
After three hours had passed and it was finally Lane's turn.
The first thing Lane saw upon pushing the door open was four people dressed in suits in a dimly lit office. One of them was wearing a bionic prosthesis while the other three were perfectly healthy and normal people. There was a plate in front of each one of them that read chief examiner.
"Hello examiners, my name is Pedro Lane. I was born in Rhode Island and I'm here to apply to become a Bionic Combative Police today."
Lane bowed lightly on his wheelchair and announced softly.
"Disabled legs?"
The man sitting on the far right frowned briskly and asked without making an attempt to be sensitive about the matter, "Lane, how did your legs come to be disabled? Was it due to an injury inflicted by criminals?"
"No, I lost them in an accident."
Before he could finish his sentence, the same man interrupted him. "Was your previous profession associated with the police or military force?"
"Neither."
Lane shook his head and put on his smile. "I was a university student and I've taken several elective courses, I performed quite well."
The four examiners exchanged glances among themselves when they heard this. The only man with bionic prosthetics suddenly asked, "Tell us about your understanding of 'justice', also, what are your opinions about bionic combative police as a profession?"
"I think the definition of justice is to crack down on all evil before they can hatch!"
Lane answered promptly, "My dream is to become a superhero. The way I see it, justice is straightforward and doesn't come with any external factors or influences. Any justice motivated by other selfish desires cannot be called justice.
"As for my opinions on bionic combative police as a profession, I don't see them as true heroes because true heroes don't demand the attention and idolization of the public. I see them as a farce because true heroes are nobodies that..."
This remark caught the attention of the other two examiners. They raised their heads in unison and looked at Lane strangely. After that, they held a whispered discussion.
Before long, the man with bionic prosthetics turned to Lane and nodded. "Mr. Lane, thank you for your application. You may leave now. We'll inform you by email if you've been shortlisted."
"Alright..."
Lane smiled bitterly and nodded. He gave the examiners one last polite bow before leaving.
By the time Lane exited the Blackwatch building, the protest outside had long died down. The LED screen on the front of the building had been fixed as well. It was playing the BHB Combative Police Force commercial again.
Lane could not fight the urge to look back again. When he saw the man in the middle of the BHB team shown on the display, a faint wipe of what seemed to be hatred appeared in his eyes...
It was at this moment when a figure came to a stop in front of Lane. He turned around and saw a large, empowering man standing in front of him.
"Lane, did you get recruited?"
"No, I think... I failed."


Who could have guessed that the accidental discovery of a pitch-black USB drive would one day turn Chen Chen’s world upside down? 
He quickly realizes that this was no ordinary USB drive—and it came with mysterious powers, along with its own hidden rules. Equipped with his skills and intellect as a student of biological science, Chen Chen strives to uncover the limit of the USB drive, and the limit of his own ambition. 
Follow Chen Chen in his pursuit of lofty aspirations—wealth, immortality, and otherworldly powers! It is a path that will lead him to a grand plan, one that will change the fate of humanity forever…


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