A parallel universe discovered
Instability defines history. I discovered this through a "fraying cable" to another reality, found within a thrift store bin. It began with Italian playing cards that utilized the design language of Japanese sumo trading cards—objects that simply should not exist in our world. My curiosity led me back to that shop and its owner numerous times. I uncovered further anomalies: 1960s underground artwork from "International Times" that was somehow dated to the 1800s.
Eventually, Q. Vellum, the store propriator, invited me behind the curtains, and invited me to access to this alternate timeline, Timeline-D. I have since spent 120 years there—a mere two years in our time—gathering ephemera that nearly mirrors our own experience. I am particularly interested in collecting examples that are closest to our own world. We have sumo wrestling, they have sumo wrestling. In our timeline Sumo is a Japanese sport and most ephemera is in Japanese. I was surpised to discover that in Timeline D- much of what we know of Japan is the same, including Sumo, but they speak Italian.
The physical preservation of these artifacts is impossible; Timeline-D paper is volatile, thriving in their sun but disintegrating in ours. To save these "rescued ghosts," I employ neural translation and Chroma-lens technology to stabilize the ink and original intent. What you hold are reconstituted missives from a neighboring world.
Cultural overlaps exist—both realities share a disdain for Papyrus and Comic Sans, and both enjoy wrestling and surfing. However, the divergences are stark: in Timeline-D, airplanes and corgis are relegated strictly to the realm of science fiction.
After 120 years in Timeline-D, it’s become clear that the rip between timelines isn’t stable. My hypothesis is that new art created with material and references from both timelines is the only way to maintain stabillity.
Our stability depends on you. To prevent our timeline from merging with Timeline-D, you must use these images to forge new, surreal imagery. I will then plant your remixes back into their archives, anchoring our reality through the act of reconstruction.
— Cyan Koda, Archivist
