In 2020, I acknowledged to a friend that the primary reason I have for writing in Kupopolis has always been in a sense to keep a cryptic diary. I don’t write for others, I write for myself. It has always served as an emotional outset for the feelings and ideas that floated in my head at the time.
I recognize that right now, of the thirty to forty odd people who have written during its existence, there are probably 2-3 people still writing in some form each year. I’m ok with this. Kupopolis has always served as a space that existed not as a place of necessity, but of a palace of comfort.
These notes are for me. If you as a reader get something out of this, then I’ll take that as something of a bonus. My aforementioned friend suggested I write more for the value of catharsis in journaling this dramatic year. These notes are a means to translate the Kupopolis narrative to my own life story.
This year I watched the block that I live on catch on fire as opportunists took advantage of civil unrest during the George Floyd protest. This left me with many conflicting feelings. I started to write this story in an attempt to sort out those feelings. This story that I’m starting to tell is a reevaluation of the narratives I’ve told thus far in Kupopolis.
The goals is roughly 3 sections of 3 chapters of ~ 10 pages in length. That’s right, its a megapost baby!
This post represents a cosmic collapse of some sort in Kupopolis’ future. The world that the protagonist exists in mirror the World of Ruin in Final Fantasy 6, but on a grander scale that it is a universe in ruin.
The reason I started with this is to present and end goal scope to the story. Even though the story starts off small end scale, the impact is something reality changing–if at least to its protagonists.
I also want to project one of the catholic themes of a world slowly becoming less grandiose over the ages–similar to Tolkien’s concepts in in his universe.
The broken text at the end translates to “Kupopolis Forever”
Part 1, Post 1
The first post is pretty much the plot for the start of a Kupopolis point and click adventure I had started to develop. This story as a whole is more of less the plot for it, as well as elements from an unfinished novel as a retelling of my basic kuproper plot elements but based in Los Angeles. Basically more people/location driven with the scope growing out of a street level to a galaxy level at the end. Our first post is in the streets of Tasnicaport, the final posts will be in a Kupopolis galaxy.
Initially the point and click adventure was going to follow the scope of the events of what my characters did during the events of White Cell. What I have outline now is more of a revaluation of the my major story points as seen through a younger generation.
Nada is named after the protagonist of “They Live”. They are also a transgendered character. I wanted to challenge myself some since I have Paul Kuvallan as this omnibus entity but no relatable human characters. I’m really liking Nada as it lets me explore my anxiety and be more vulnerable.
On the concept of vulnerable, this story mostly focuses on development of one of my main protagonists, Clay Reynolds. its never been stated sin story, Clay’s mother is Kakkaran while his father is is from Zozo, but of Velt descent. In an unfinished novel that transfixes Tasnicaport to Los Angeles, his mother is Arabic while his father is Black. Clay is a foster child–we start examining that in this plot line and follow the broken aspects of Clay’s persona as a product of a broken system. The only real description I’ve given of Clay in Kupopolis is that he has an earthly complexion.
In the unfinished novel I’m taking elements from, at one point Clay retreats to a black barbershop run by his father’s brother. This first post starts to explore his mother’s side of the family. To be honest, this change is mostly to explore my feelings around having been to the funeral of two of my friends’ fathers: one from Iran, and one from Iraq. Also the choice of it being Clay’s grandmother dying is due to the desire of explore my feelings on my own grandmother from Costa Rica passing. I’ve definitely felt a push to examine my identity as a son of an immigrant more since then.
We also see a short discussion of Clay Reynolds: gentrifier. I wanted to establish some modern discussion of some political elements that have traditionally been glossed over in Kupopolis. Clay comes as his pragmatic self as he attempted to meet his goal while following advice of city planners. He wasn’t in it for the money, he just wanted to get rid of a bad situation for many like himself. I felt this was important to establish that he wasn’t just a guy running around playing bad detective and soldier all the time, and give a “street level” feel to the overall Kupopolis universe.
Some potpourri: I already established my other that primary protagonist, Abe Zion, post White Cell serves a role of a proto-corporate King, similar to something right before the establishment of CHOAM in the Dune mythology. This is an exploration of Clay’s place in this new reality as he had one foot in this world of corporate elite monarchy while establishing the unspoken history I’ve had for him mulling in my head.