▛▝▖▘ ▟▙▝▗ ▜▙▟▟ ▙▘▜▝ ▚▟▙ ▟▙▝▗ ▜▙▟▟ ▙▘▝ ▚▟▙ ▟▙▝▗ ▜▙▟▟ ▙▘▝ ▚▟▙ ▟▙▝▗ ▜▙▟▟ ▙▘▝ ▚▟▙ ▟▙▝▗ ▜▙▟▟ ▙▘ ▙▘▜▝ ▚▟▙ ▟▙▝▗ ▜▙▟▟ ▙▘▝ ▚▟▙ ▟ ▙▘▜▝ ▚▟▙ ▟▙▝▗
▟▙▝▗ ▜▙▟▟ ▙▘▟▙▝▗ ▜▙▟▟ ▙▘▟▙▝▗ ▜▙▟▟ ▙▘▙▟▟ ▙▘▝ ▚▟▙ ▟▜▜▗ ▜▙▟▟ ▙▘▝
▜▛▗▛ ▚▛▝▟ ▚▖▖▛ ▟▖▝▖ ▛▘▚ ▙▝▟▛ ▞▝▘▞ ▘▚▟▝ ▚▜▙▝ ▞▖▘▛ ▘▙▟▖ ▟▙▟▜ ▗▚ ▟▚▚▗ ▜▘▙▘ ▞▛▟▞ ▝▛▙▙ ▙▗▜▘ ▜▝▟▛ ▝▙▗▘ ▞▘▝▝ ▛▞▙▙ ▜▟▗▝▙▗▘ ▞▘▝▝ ▛▞▙▙ ▜▟▗ ▝▘▞ ▘▚▟▝ ▚▞▖▘▛
Themes of power and control form a recurring element within the narrative of the project, with this control tending towards one ▞▗▗ ▛▖▜▟ ▘▚▚ in which the balance is "all or nothing". The dissemblers are all-powerful over the strangers,𐊹 and the strangers, as a whole, are in a position of power over the sensitives.
𐊹 But even though Bracey can stop the strangers with one touch, he can’t stop the slaughterhouse.
These power dynamics are not a complementary or counter-balanced system, like that of the Pokémon types. Rather, the fundamental system is relational, but the structure as a whole remains unclear.
▝▞ ▛▖▞▝▞ ▛▖▞▝▞ ▛▖▞▝▞
▛▗▝ ▞▝▞ ▛▖▞▟ ▙▚▛▘ ▜▜▜▝▞
▙ ▜▚▗▜ ▛▛▘▛ ▞▛▗▝ ▞▝▞ ▛▖▞▙ ▜▚▗▜ ▛▛▘▛ ▞▟ ▙▚▛▘ ▜▜▜▝▞▙ ▜▚▗▜ ▛▛▘▛ ▞
It may be tempting to think that they were always some sick cohort of the ▞▟▞ ▟▜ salivating, gnashing ▟▙▝▗ ▜▙▟▟ ▙▘▜▝ ▚▟▙▜ and the trapped inside of ▟▞▟▞▟▞ prison cells and boxes, but ▜▞▟▞ ▟▜ they were not part of such an organized system. The phenomenon that birthed them did give them a ▞▟▞ ▟ physical form, because of the way in which matter becomes 'organized'. ▜▙▟▟ ▙▘▜ it becomes ▙▗ ▘▞▟▞ ▟▜▜ physically 'organized'.
▚▗ ▗▚▛▝ ▙▖▟▖ ▟▚▝▚ ▝▞▞▟ ▘▚▙▘ ▜▗▚▞ ▝▙▞▖ ▛