The Dragon Emperor’s Treasure (Short Story)

October 2008 - January 2009

Due to economic turmoil, a Taiwanese American businessman returns to his homeland with his wife and son in order to convince his estranged father to convert their farmland into a rubber plantation.

First few pages:

The bamboo patches and rice paddies bleached into wheat fields as our train passed across Chiayi County. Much had changed over the past twenty years since I'd been here, in Taiwan. My hometown was becoming more like Hong Kong; downtown Chiayi was now studded with signs and billboards, advertising Panasonic, Versace and such. But we were not going to those urban places—no, we were heading to my father's village, miles away from shopping malls.

Our train ran parallel to cornfields and some adobe houses. Tractors and trucks crept along the paths and sprinklers showered the crops. I took a bite from a sugar-glazed donut we had bought earlier. My six-year-old son, sitting across from me, ate his strawberry-filled one as he stared out the window.

"Isn't Taiwan lovely, Tristan?" Alice wiped his mouth with a napkin.

"Where are the cows?" He wiggled in his leather seat. He was wearing his Mickey Mouse cap we had bought from Hong Kong Disneyland two days ago. Alice tried to settle him down.

I sipped my hot coffee while reading the Wall Street Journal. There's nothing better than the odor of print and that exquisite aroma of Robusta beans. The paper said that the economy's recession was getting worse, and so I was a little worried for my tire company back in San Jose. Our previous suppliers had closed down, so my business needed less expensive raw materials than the current inflated rates. If only I could have my own rubber plantation, I could pay my loans on time. If only I could convince my stubborn old man to let me manage his farm.

Our train entered a dark tunnel. Tristan laughed and mimicked the noise of ghosts.

"Behave," Alice told him. After the boy sat still, she gave his head a pat.

When the train exited the tunnel, the view turned green with hills, paddies and gorges. Our destination grew closer.

***

The farm village seemed as if it had been preserved in a museum. Patches of lettuce, pea tip, cassava, celery and radish lined my father's fields as they stretched around the hillsides, coloring the place with various shades of green. The air was thick with the smell of natural fertilizer. Upon my foot's trudge, the soil felt soft—as it had been during my teenage years when delivering a basket full of sweet potatoes and then slipping on after-rain sludge. I put on my sunglasses and moved onto the rocky trail leading to the large, brown farmhouse at the base of the valley. In the village were the rice paddies and huts. Sweaty peasant men and women wearing straw hats were bending down and soaking their feet in muddy water, collecting grain: a toilsome work under the unmitigated heat of the noonday sun. Other villagers carried large baskets of crops. These provincials ought to use machinery these days.

Tristan pinched my gray suit. "Where are the horsies and piggies, Dad?"

Watching the Times: Prospects for a New Age of Asian Americans

Nonfiction essay on the Millennial Generation (aka Y or echo boomers) and Asian American millennials.

For generations, the story of Asians in America has been about discrimination, racism, stereotypes, the model minority myth and other struggles. But as the page of history turns to a new millennia, the arc of our stories, that of young Asian Americans, may be different. Our numbers are increasing, and a new culture is embracing many things Asian: from food to pop culture. There is no doubt that the experiences of Asian American millennials will be different, but one may ask: how so? How does the "Google Generation" context shape, influence and interact with one's social identity?

To answer the question, "Why do we need this study," one must understand that millennial culture affects the future of Asian Americans. For one thing, it is significant to charter how the perception of "foreignness" and stereotypes on Asian Americans change in time. Studies in American millennial and popular culture could aid in predicting the future of Asians in America. They may also help discern commercial, political, sociological and psychological aspects this new generation has in the context of a larger Boomer, X and millennial generations.

My research tends to focuses on the trends and issues regarding millennial identity and how the generation affects Asian Americans. In this paper, I discuss what millennial culture is and who they are. Next, I describe how Asian popular culture has and continues to influence American millennial culture and perceptions. On the other hand, we also view research on how Asian Americans react to millennial attitudes, whether they embrace or reject these trends. Given this background, we shall look at how millennials view diversity, and issues of racial identity. Finally, we look at problems, personal essays and critical views on the emerging generation.

METHODOLOGY

This paper is informed by several sources, including news articles, published research and theories, personal essays and case studies. These sources give different opinions on the commercial, political, social, psychological aspects of this emerging generation. The oldest material I refer to dates back to 2005. Analysis of these literature, theories and perspectives later in this paper will come from my training as an English major.

This research, however, has its limits. For instance, studies in American millennial identity and attitudes assume that the millennial has been exposed, at the very least, to popular culture and the Internet. Its culture is heavily urban and suburban. Hence, this paper focuses on major popular trends instead of topics involving millennials coming from rural and poverty-stricken lines.

LITERATURE REVIEW

As an emerging generation, much of the research has been done mostly by corporations and popular culture researchers, particularly because of how millennial consumerism had changed the market. Theorists William Strauss and Neil Howe have analyzed several generations and recorded their findings in books. Among their works is Millennials and the Pop Culture (2006), wherein they extensively discuss several trends of the emerging generation. Their viewpoints on the generation are overwhelmingly positive and hopeful, but one may suspect if their research truly captures the nationwide Zeitgeist of all millennials, particularly from areas with smaller minority groups.

To supplement Strauss and Howe's theories, several articles by Asian Americans and Hispanics provide positive insight on the millennial generation. Articles from AsianWeek and The Asian Reporter refer to Asian American figures who complement findings on millennial ethnic diversity and the evolving trends in the young consumer base, one that is highly influenced by Asian popular culture. Similarly, Anne Allison's book, Millennial Monsters (2006), gives an extensive report on how Japanese fantasy products and media have altered and influenced millennials.

Lastly, Joann Faung Jean Lee's collection of interviews, Asian Americans in the Twenty-First Century (2008), offers several perspectives and personal essays that give a glimpse of how Asian Americans, both millennials and older generations, view racial identity, stereotypes and current trends in popular culture. The anthology, Asian American Psychology: Current Perspectives (2009) also gives insight on how millennial identity and ethnic identity matter.

SAMPLE BODY (quotations removed in respect to copyright)

Authors Strauss and Howe give an in-depth analysis of the emerging generation. First off, they describe the millennial generation as different from the Baby Boomer and X cohorts in terms of general character, values, diversity, consumer habits and trends. Millennials have greatly affected the market, especially the entertainment and media industries. Among these effects are CD purchases dropping dramatically, as well as movie theatre and television viewing going down in recent years. (...)They are a smart generation, more likely to shun stupid pop celebrities than the more liberal Gen Xers, and their quasi-conservative reactions against overt sexual themes have gained the disdain of Boomers and Xers in the industries. Attributed to this is the rise of Asian popular culture influencing millennial trends. Innocence and cuteness, and the preference towards bloodless violence have captured the millennial taste, according to Anne Allison's research. For these reason, the terms "Generation Y" and "echo boomers" are misleading and inaccurate. The millennial generation, by itself, is unique and not simply a continuation of past generations. With vast information spreading through the Internet and social networking sites, this emerging generation tends to be more globalized and up-to-date.

What exactly is a millennial? For Strauss and Howe, a millennial is generally born from 1982 up to the present, based on the high school graduating class of 2000. Strauss and Howe ascribe several core traits to the millennial generation. (...)

The Asian American millennial exists within the global diversity inherent in the millennial generation. Strauss and Howe claim that this cohort is the "most racially and ethnically diverse, and least Caucasian generation in U.S. history. <…> Thomas Tseng, in his article "Millennials: Key to Post-ethnic America?" agrees on the ethnic and cultural heterogeneity of the emerging generation. (...)

-14 more pages.-

Art of the New Ukulele

Nonfiction: Essay/Review/Research Paper on Asian American musician, Jake Shimabukuro

I first heard about Jake Shimabukuro from a "Musics of World Cultures" class back in community college, when my professor introduced him in one of the videos on Hawaiian music. Besides hula, my professor showed clips of ukulele performances by Israel Kamakawiwo'ole and Jake Shimabukuro. The latter musician had actually toured and performed in my college a few weeks before my professor had introduced Jake to us. I immediately regretted not watching his performance after listening to several of his works. The live video recording of "Crazy G" impressed me, especially how Jake interacted with his audience when they asked him to play faster. A friendly musician, Jake Shimabukuro wields his custom ukulele and transforms many pieces, from the "Star-spangled Banner" to the Japanese traditional music "Sakura, Sakura" according to his instrument. His music combines stylistic elements from various genres: pop, rock, jazz, bluegrass, flamenco, classical and Japanese folk. And having recorded several albums and performed at various places, Shimabukuro has gained national and international renown, and his musical experimentations made him known as the Jimi Hendrix of the Ukulele.

In this essay, I give a brief biography of Jake Shimabukuro's life and an overview of his works. Next, I will examine two recordings done by the experimental ukulele star, and I shall express my own interpretations of them, their differences in style, arrangement and meaning. Afterward, I examine several interviews that highlight his identity development, musicianship, and how feels as an Asian American artist. My paper also discusses how various media portray Shimabukuro and his music, both in the United States, as well as his image in Japan. Further, I shall compare his music to taiko, on how his music differs from taiko's ethnic and cultural values and its emergence in the United States.

According to his official website, Jake's mission is to "show everyone that the ukulele is capable of so much more than only the traditional Hawaiian music many associate it with." My paper argues that this statement extends to the Asian Pacific American, that an ethnic minority could also be an instrument of unimaginable possibilities. I shall discuss here on how Shimabukuro, the representative artist, proves that his experimental music transcends race, ethnicity and stereotypes.

Biography and Overview

Jake Shimabukuro is a fifth generation Japanese American born on 1976 in Honolulu, Hawaii. His mother is fourth generation having roots from Hiroshima, Japan. His father, on the other hand, is second generation, with roots from Okinawa. Before pursuing a solo career, Shimabukuro joined the group Pure Heart, a trio with Lopaka Colon (percussion) and Jon Yamasato (guitar). Pure Heart gained attention in Hawaii in 1998 and 1999 when their albums won the Island Contemporary Album of the Year award consecutively. In 2001, Shimabukuro separated from the group and started experimenting with his ukulele and various electronic effects. In 2002, he produced his first solo album Sunday Morning, which had pieces that involved several genres including bluegrass, jazz, classical, salsa/flamenco, pop and rock. For several years he has both rearranged various folk, jazz, pop and classical pieces while developing his own original works that mix compelling sounds and influences. Well known for his friendly demeanor and lightning-fast strumming, he has performed and toured across the nation, as well as in Canada, Europe, Japan and Australia. Indeed, according to an article by Rick Landers, the State of Hawaii has named Jake Shimabukuro as a Goodwill Ambassador (Landers). By 2007, this artist has produced six recordings in the U.S. and has shared his music and performance around the globe, through tours and the Internet. He is currently under the Sony Music Japan International record label.

In the U.S., Shimabukuro has released 6 solo albums: Sunday Morning (2002), Crosscurrent (2003), Walking Down Rainhill (2004), Dragon (2005), Gently Weeps (2006), My Life (2007). Interestingly, his albums feature only two rearranged Japanese pieces: "Hikaru Kaigara" from Walking Down Rainhill and "Sakura" from Gently Weeps, whereas his Japan-exclusive CDs such as Yeah (2008) have more rearranged Japanese melodies. The differences between Japan released albums and albums cited in Shimabukuro's official website and store shall be discussed later in this paper.

Analyses of Recordings

"Dragon" from the album Dragon (2005)

The repetitive, catchy solo melody plays continuously until 0:28, when percussions come in just before violas or cellos. Shimabukuro plays the same thing while violins do special sounds, but after the first minute, the ukulele and violins duet with their own styles and music, a battle wherein the violins play harmoniously beautiful while the ukulele responds with simple plucks. The ukulele seems passive while other strings seem more creative and lovely. At 1:33, Shimabukuro starts up his catchy melody again, accompanied by percussions and strings. A dramatic and sentimental crescendo of strings in the background grows and grows until finally, the ukulele does a solo reminiscent of a mandolin's sound. Strings and drums slowly return to the background, a clash of percussion signaling the next part of the music: an improvisation-style with the complexity and depth that differs immensely from the previous simple yet catchy melody. After a long, impressive show of the ukulele's capacity, the catchy melody reappears again, and in the end, Shimabukuro plucks a tune that sounds like an East Asian lute.

Because of its title, "Dragon" may be interpreted as work having some Asian or Asian American meaning. In fact, in a live performance of this piece on Youtube, Shimabukuro spends nearly a minute setting the mood by playing lute tunes that sound like traditional Asian music. Although the performance has been rearranged, without drums or strings, from the album version, the shifts from soft and passive to swift and dominant remain in the music. I first interpreted the music as a conversation between a male and female, particularly the ukulele and the violin. But then, as I listened more closely, I realized that during the first half of the music, creative sounds were dominated by the accompanying instruments: violin, cello and drums whereas the ukulele played the repetitive melody, which tended to be soft, passive and uncreative. Given another level of interpretation, the drums and strings could be intrusions to the supposedly solo piece, forcing the ukulele to be as creative or loud as them. The violins challenge the ukulele to sing as beautifully as them, and finally, the ukulele releases its creativity through an impressive solo melody, the percussion and strings pushed back as accompaniments to the lovely release of ukulele rock music. Compared to the traditional ukulele, violins and cellos are western instruments. Could the dragon in this piece be the ukulele and the Asian Pacific American artist, whereas the other instruments western genres of classical and rock? In the end, the accompaniment leaves, and the ukulele is left to play a traditional Asian tune.

"While my Guitar Weeps," from Gently Weeps (2006), a piece written by George Harrison.

At first, Shimabukuro strums his ukulele softly, and it sounds very Hawaiian, reminiscent of Israel Kamakawiwo'ole's serene songs. However, when Shimabukuro gets to the chorus, he strums stronger, but him stylistic editing of the original piece still sounds Hawaiian. The second "A" part plays, and Shimabukuro strums with more energy, this time without the Hawaiian-sounding tune. He taps to signal a new chorus, more passionate but having a Hawaiian tune again, the chorus an energetic crescendo moving to a serene decrescendo. By 2:08, the music transforms with electronic effects, drums, rocklike sounds and improvisation as one would do to an electronic guitar. The Hawaiian sounds are lost in that power-sound show, and a silence lingers from 3:47 to 3:52, and the final part of the piece features a slow version of the "A" part, two bits of ukulele music separated by a pause. A melancholic effect is produced in the end.

This rearrangement of Harrison's work is heavily distinct because of the serene effect of a single ukulele, compared to the original arrangement's use of an entire band. Shimabukuro captures the melody of the song and intelligently applies it to an arrangement that suits his instrument. But just as Harrison and his band seem to improvise after several choruses, Shimabukuro does his own awesome display of sounds, more creative and less similar to the original. Indeed, his art is not mere mimicry. Shimabukuro's work amplifies Harrison's melody that has been buried by various accompaniments. By converting vocals into strings and focusing on that solo instrument, Shimabukuro highlights something beautiful, just like Nigel Kennedy applies this technique to his violin in another rearrangement of the same original. Both Shimabukuro and Kennedy show that rock is not limited to electric and bass guitars and drums. Folk and classical musicians may also play the genre through their instruments. Given another level of interpretation, one might say that rock is not limited to white America in the mainland, but also liked, influenced and played by Hawaiians and Asian Pacific Americans. This piece is also known as "While my Ukulele Weeps," possibly implying that the music is no longer Harrison's but Shimabukuro's.

The Misadventures of Gil and Vuk (Screenplay)

Full length Screenplay. Comedy/Road trip.

A heartbroken emo kid tries to videotape his suicide, but life itself prevents him from doing so. In process, he and his roommate get lost at Mt. Shasta woods.

Excerpt, first few pages:

Fade in:

EXT. Chico school of the arts and landscape - Day

Sun rises from mountains. A preppy art school with outdoor cafes and shops. Students walking around the campus.

INT. Gil and Vuk's dorm room - DAY

VUK's wall has pictures of Jessica Alba and Beyonce. Life sketches of nudes.

Decapitated chicken clock clucks. Vuk wakes up, taps the clock and starts singing the opening song from Hairspray. Bad Eastern European accent.

He is wearing polka-dotted PJs with elf hat.

Opens the window, light blasts in the room, and Vuk greets the birds with song and looks at the view.

Noises from his roommate's darker side. Asian emo kid GIL LUU mumbles curses, covers himself and turns to his side. His hair has blonde highlights.

INT. Dormitory HALL Restroom - day

Curtain. Silhouette of Vuk singing while taking bath in a tub, playing with soap and a rubber ducky, jacking off and rubbing himself dry.

He sings while brushing his teeth by the mirror.

INT. Gil and Vuk's dorm room - DAY

Gil's dark side contrasts the earlier mood. Rock lyrics and posters of emo bands on the wall. Paintings that seem to ask: What is the meaning of life?

Gil's closet is full of black sweaters and shirts. On his desk are a laptop and bottles of rainbow dust.

In an artsy garment, Vuk enters, twirls and holds a long note, arms wingspread. Gil turns to the wall.

Vuk

Goood morninguh! Seventy-three degrees with five percent chance of rain today.

GIL

Go away, Vuk.

VUK

In land vhere I grew up ve dance and sing every morning. Come, Gilley-Willie! We dance and sing!

Vuk sings and does a Melbourne shuffle. Gil jumps up and pushes the pillow on Vuk's face.

INT. DORMITORY HALL RESTROOM - DAY

Gil pulls himself to the sink, washes his face and dumbly brushes his teeth. Mirror reflects his frown. Vuk continues singing off-stage.

GIL

I wake up for this? God, if only a meteor would fall on this stupid planet I wouldn’t be in this fucking school.

Gil looks at the scars on his arms and rubs them.

INT. GIL AND Vuk'S DORM ROOM - DAY

Vuk is eating cereal while browsing an Automobile magazine.

Now wearing his emo style, Gil takes a Rockstar from the left side of the fridge. The fridge's right side has dried fruit, pickles, cakes and milk.

GIL

What car do you drive, Vuk?

Vuk

None. My dad does not let me drive. But I vant to drive VL turbo like my cousin in Australia.

GIL

I see.

VUK

Someday I vant car that drive like jet!

Vuk whooshes, hand like a jet. Catapults the spoon and cereal hits Gil's face.

GIL

Gah! My eye!

VUK

Sorry. Vant some Lucky Charms?

Vuk waves the cereal box. Gil wipes his face.

GIL

I hate that stuff.

VUK

You sure? They're made by real leprechauns.

Gil raises a brow.

GIL

I bet you had a great childhood.

Vuk

Yes. Very much so. My family for many generations lived in the country of Nubkekistan, former Yugoslavia. Vhen I was little I used to milk goat and hunt mushrooms everyday. Oh how I miss little cute chickens running around, cluck, cluck, cluck, and how vhen I vas ten I--

Gil takes out his I-phone while Vuk yaps. Plugs his ears. WE SEE Gil's Youtube Vblogs and videos: Diaries of an Angry Emo Kid, Hairstyle Tips, Nothing is Real.

Clicks on Diary. WE HEAR his voice from the Vblog.

GIL (V.O.)

Hello, Youtubers. It's Angry Emo Kid here wanting to let you know how my life sucks as a freshman, in this useless campus. So here I am, making a video while my roommate's away, thank God. I live in this cramped shitty dorm room where it stinks.

I-phone scrolls down to see only 100 views, compared to links of other Asian Youtubers who have millions of views and subscribers.

Gil sighs. Looks at the clock. Five to Ten. Pulls off earphones.

VUK

And I remember dancing with this girl for the first time and vhen she kissed me I pee.

GIL

I should get going.

VUK

Oh vait, Gil. Can I have some hair?

GIL

Say what?

Vuk clips his fingers like scissors.

VUK

I need hair for my art project. Just a few.

Vuk reaches for Gil's bangs. Gil backs away.

GIL

No! Get away from me!

Gil takes his backpack and leaves.

EXT. Chico University Campus Pathway - DAY

Trees. Lawns. Cafes. Gil runs down the path. A group of emo girls are surrounding an emo musician, DAVEY, who sings and plays lead vocals for his band.

INT. Botany classroom - day

The room has around 20-30 students and various plants are on display.

PROFESSOR BABCOCK, an old blond, wearing a red blazer, is speaking in boring monotone, pointing at the screen of flowers.

Professor Babcock

And so, remember that pollen grains migrate to the ovule to fertilize the egg cell and endosperm. This process is called double fertilization. Very important how flowers reproduce.

A BOY 1 whispers to BOY 2 behind him.

BOY 1

This class is tight. I think I'm getting horny.

The boys snicker.

A yawning PUNK with green hair has his foot by the door. Gil enters and stumbles into the room. Laughter.

PROFESSOR BABCOCK

Mr. Luu, we were just reviewing the sexual reproduction of flowering plants.

GIL

Yes. I'm sorry Professor Boobcock--I mean Babclock--Babcock!

Chuckles. Gil pulls himself up and goes to a seat next to Asian emo girl JESSICA.

Jessica

Nice entrance, Gil.

GIL

Don't remind me.

Professor Babcock coughs.

PROFESSOR BABCOCK

Hmm, so where was I? Oh yes, we will be discussing California's wildflowers for next week. I want you to research these specimen, see what they look like, and identify ones which are poisonous and--

Gil holds Jessica's hand and the professor's voice fades to the background.

GIL

Man, Jessica, can't wait for the party tonight.

JESSICA

Uhm, yeah. Me too.

GIL

Anyways, I have some new videos. Check 'em out.

Gil hands her his I-phone. She plugs her earphones.

JESSICA

The heck? What's this...Winter Sonata?

GIL

Oh shoot! I forgot to delete that. My mom loves Korean dramas. She must've saved that when she borrowed my phone.

Gil laughs awkwardly. Jessica raises a brow.

Like Blood in Water (Screenplay)

A Chinese American teen falls in love, but is insecure if the girl would love him back.

An Excerpt (The context is that the group is making a video project on Asian American stereotypes):


OLIVER
I have an idea! Why don’t you like
ask her out after this Saturday.

Passes ball.

WAYNE
I dunno, man. She might have plans.

OLIVER
Come on, dude. Have some
confidence. Like, I’m sure she’d
like your adorable personality.

WAYNE
Uh. Okay...You think I’m adorable?

OLIVER
Uh. Don’t tell Dianne I said that.

EXT. COMMONS LAWN AREA - UNIVERSITY - DAY
The team are setting up. Dianne controls the video cam.
Wayne and Samantha are sitting on table.

Paul is dressed as a waiter. Irene has a kimono on.

IRENE
Everyone has their script?

Oliver scratches his head.

OLIVER
Wow. Where’d you two get all this?

IRENE
It was mostly Sammy’s idea.

WAYNE
Yep. Irene and Sam did a pretty
good job compiling all of this.

OLIVER
Hey, I helped out, too!

SAMANTHA
Yeah, right. Just memorize your
script already.

OLIVER
I’m ready! I got Matt Damon inside
me.

DIANNE
Did I hear that right?

PAUL
Man, this is gonna be so bad. I
don’t act.

IRENE
You’ll be fine, Paul. We believe in
you. Just think Jackie Chan.

PAUL
If you say so.

Paul slaps himself awake and does breathing exercises.

PAUL
I’m good.

DIANNE
Everyone ready?

They nod.

DIANNE (CONT’D)
Ok! Restaurant scene, take one.
Paul goes to the table.

PAUL
Herro. Wercom to My Dung
restaulant. Wat you wanta dink?

WAYNE
Excuse me?

PAUL
You wan sumdick you wan sumdink?

SAMANTHA
I’ll have water please.

PAUL
Ah, you wanta wata, okay.

WAYNE
Oh, drink. I’ll have a diet Coke.

PAUL
Okay. You die it Coke.

Paul walks away. Samantha opens the menu.

SAMANTHA
So what’s good in this dump?

WAYNE
Sorry for this place. My mom never
lets me eat anything other than
Vietnamese. She doesn’t even let me
date.

Oliver enters the scene with Irene who looks like a geisha.

IRENE
Please Sir, have a seat. Let me
take off your coat.

OLIVER
This restaurant sucks. Where are my
burgers? Get me a pizza.

IRENE
Yes, Sir. At once.
Dianne moves to and fro. Brings a tray.

OLIVER
This is unsatisfactory! You will
suffer for this insolence!
Oliver pretends to choke Irene.

IRENE
No! No! O, woe is me. Someone
please save me!

Wayne disrobes, jumps out of his seat and does a
mock-martial artist stance, making loud cries like Bruce
Lee.

Oliver points his finger like a gun and shoots Wayne’s head.
Wayne falls. Oliver laughs.

Irene takes out a fake knife and stabs Oliver. He falls.

Irene has the last laugh.

DIANNE
And, cut! Well done guys.

Portrait of a Future (Sci-fi Short Story)

Speculative Fiction inspired by the Israel-Gaza conflict. January-February 2009.

A young man gets sent to possible future, one that is bleak and besieged by war and terrorism.

From Pages 1 and 2

This was no longer a dream, nor was it the world Andrew Farmer could relate to: a world that was and was not his own. Head bleeding, Andrew hid behind a lump of wreckage that was once a mosque. Gunshots burst and missiles rained in the night of smoke and fire. The seventeen-year-old hugged himself, trembling slightly. He saw a woman trapped by debris, her pained face mouthing for help. Andrew crept away from the wreckage and crawled to her.

"Soon, the world will end," the woman uttered in Hebrew, her voice raspy and forced.

"What in the world's happening?" Andrew tried to push the pillar crushing her legs.

The woman croaked words the boy couldn't understand. Her eyes swelled and yellow ooze came out of her nostrils. Andrew flinched as the woman rattled wildly, growing scales as she started to mutate into one of those yellow-eyed lizard-monsters.

The boy tried to stand, but the woman tugged at his leg. "Fuck! Let me go!"

The creature cackled. A laser shot through its head. Its grip loosened. Andrew looked up and saw a beautiful lady in her early twenties staring at him with a silver pistol he had never seen before. Her black hair and dress fluttered against the wind. She looked Arab, but Andrew wasn't sure, particularly because he had rarely seen an Arab woman's hair. Squinting, she pointed the gun at him. "Impossible. You—I know you," she said in perfect English. She pushed her pistol against Andrew's forehead. "Are you his clone? Tell me," she threatened.

"Please, I don't know what's going on! I can't remember—" His head throbbed. "Tanya Farmer! My mom, she works at Technion. She could explain everything. She threw me into a well of dark water, and when I woke up, I found myself here."

"Farmer?" she mumbled. "Axis Mundi project." Her eyes widened. "I see now. Come with me."

***

Days had passed since Andrew entered this new world, 2137 CE—no different than his home universe of 2009 as he slowly remembered it, a world scarred by bloodshed and suffering. He was now stuck in a possible future that branched from his past. The lady who saved him, Rana Zayd, had brought him to Haifa, one of the safest places in Israel during the terrorist outbreak. According to her, a cryptic group had manipulated genes of the unborn, spreading altered humans to grow up normally and undetected until a certain smell caused their bodies to mutate into fierce creatures that, when fully transformed, no bullet or missile could kill. Sylphs, androids employed by the Israeli military, could not defeat them.

Andrew leaned back in his chair. "So you're saying my mother built these giant robots that could penetrate their scales?"

Rana nodded. "Exoskeletons, to be precise. Unfortunately, Dr. Farmer made only two prototypes, named after mythic twin angels, and both of them synchronize exclusively to your body."

"Uh-huh?" Andrew's eyes drifted to the glistening bay outside the glass dome shielding the balcony. No birds under the cloudless sky.

"People will lose lives, and the outbreak may extend outside Israel's borders unless the problem isn't solved. We, Operation Delta, are currently searching the source of terrorism. But for now, we need a pilot for the Sandalphon, the combat mecha of light." Her hazel eyes met his. "And only you can help us."

"That's crazy. This isn't even my universe. Why should I help?" He drank his tonic, a pomegranate-grape mixture with a hint of alcohol. He exhaled, feeling trapped inside a box of glass. What good could he do?

Rana touched his hand. "You know, my family passed away because of this war. More people will die if the source of this terrorism isn't stopped."

Andrew looked away. She was indeed beautiful. "I know how you feel," he said. "I lost my loved ones, too."

"You know, Operation Delta has been studying your mother's research. Your body has already passed through the Anima Mundi, the soul of quantum multiverses. So, by having you synchronize with dark water, we might be able to send you to a past universe, and perhaps, even back to a specific time."

"Seriously? That's great then."

"There's a problem though," she said. "Remember the two prototypes your mother designed? We're missing one of them."