Motes

And We Are The Motes In The Stage-Lights of the Ode clade (she/her), or just Motes, is a member of the fifth stanza, an up-tree of Time Is A Finger Pointing At Itself. She often presents as an anthropomorphic skunk, looking to be anywhere between five and twelve years old, though she occasionally presents as a human in her mid twenties, more slender than her cocladists, with a very flower-child aesthetic.

Life

Motes was forked in systime 3 (2127) as A Finger Pointing began to build the theatre troupe Au Lieu Du Rêve. Her job was to work on set and prop design. Her focus beyond that was to lean into play as a form of hedonism. Over time, this led to her aging down her appearance and leaning specifically into childlike play, and then a reclamation of childhood itself.

As time went on, she began to incorporate various aspects of childhood into her life, including a family dynamic. She began to treat A Finger Pointing and Beholden as her parents, calling them 'Ma' and 'Bee', and the rest of the stanza as siblings. Slow Hours in particular became a trusted sister. Many of them called her diminutive nicknames as well, such as 'Speck', 'Mote', or 'Skunklet', with A Finger Pointing and Beholden referring to her as 'Dot', short for dóttir.

Controversy

Throughout the years, Motes's explorations caused several controversies within the Ode clade, culminating in systime 238 (2362) when Memory Is A Mirror Of Hammered Silver reaffirmed cutting contact with the entirety of the fifth stanza in a very dramatic series of events.

Overflowing

When Motes overflows, she stops playing, and given the depth to which she has incorporated play into her being, this leads to get stopping pretty much everything else. She winds up nonverbal and all but catatonic, unable to engage with the world around her.

Gallery

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  Art by Roxy.

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Appearances

• Motes Played
• Marsh (cameo)