Hello, everybody, and welcome. It's wonderful to be able to spend some time with you all today and to talk about our climate futures and how we can unlock more positive visions for the world we actually want to live in. My name is Ed Finn. I'm the director of the Center for Science and the Imagination at Arizona State University. I'm also the academic director of Future Tense and really excited about this program we have for you today. I want to start by talking a little bit about how this really amazing group of people came together and the project that we are leading to address the issues that we're going to be talking about today, the Climate Imagination Fellowship. So this started for us as a conversation about our growing unhappiness with this collective challenge we face. How do we catalyze affirmative climate action in the present? I'm sure that you all are aware of the traumatic climate events happening every week. It seems like there's another hurricane or forest fire or superstorm or drought. And many of these challenges don't really go away. They just leave the headlines and they persist as ongoing challenges. And it's clear that these challenges are only going to get worse. And perhaps naturally, people all over the world often feel powerless in the face of these changes. We have a sense of fear and anxiety about climate stress and these growing futures, the sort of looming dystopian future that seems to be ahead of us. But as one of our panelists reminded me in our conversation right before this, Amitav Ghosh and many others have argued that what we are dealing with here is a failure of imagination. That we can only seem to see the problems ahead of us. And we're not even really grappling with the problems. We're just talking about them and that what we need to motivate systemic change, transformative change is more positive futures about where we want to go instead of just what we're worried about where we don't want to go. So our Climate Imagination Fellowship takes this challenge on to ask how we can redefine human and interest species, narratives, stories, visions of the future that are built on more sustainable foundations. How are we not just going to survive but thrive in the coming century? So what we're trying to do is create visions of positive climate futures that model cooperation and coordinated action that are rooted in local complexities that are based in reality. They're not all sunshine and unicorns. They effectively model and maintain fidelity to all of the challenges inherent in the human condition and all of the problems, the real problems that we have. But there are still stories that are optimistic and they're grounded in real science. So they're extrapolations from where we are and asking ourselves, where could we get to? So important to us is not just that we come up with a few stories that and say, well, this is it. This is the set of answers we've solved this problem because that's not really going to happen. But what we are going to do is model how you do this kind of storytelling. So our ultimate goal is not just to come up with these visions of the future but to inspire communities and individuals, young people around the world to start imagining their own positive climate futures.  And I think to do that, we have to begin with this attitude of possibility, this attitude of change and recognize that the most important tool we have to do this is storytelling. That stories are a way that we can inspire different pathways. We can inspire different causal relationships. And it's one of the few tools we have as humans to grapple with the complexity of climate change. We're pretty bad at math and statistics and risk assessment as humans, but we're pretty good at storytelling and we use stories to balance foreground and background ambiguity and complexity. And so for all these reasons, we're really excited to have this group of climate imagination fellows and we'll be meeting three of them today. So the structure of this project is that we have four fellows from all over the world. They are creating novel length climate futures narratives as well as flash fiction stories and they're incorporating input from researchers, from policymakers, community members, leaders across a whole variety of different fields. And we're doing a series of events. This is one of them leading up to TED's project countdown and COP26, the next major meeting of the Congress of parties for the international climate accords. And all of this will culminate in a project of publication next year. We're calling the Climate Action Almanac that will collect all of these different materials, fiction, nonfiction interviews, do it yourself activities and more. And we're doing all of this in collaboration with an amazing group of partners including the UN high level climate champions team, TED countdown, Climate Works Foundation, the Climate Works Foundation is supporting this work and most importantly of all are four fellows, Olivia Brenda, Hano O Nogue, Bandana Singh and Ja Ja, and our advisor and in many ways the sort of spiritual inspiration for this project, Kim Stanley Robinson, who's new novel ministry for the future has really fired this conversation for many others as well. And as an extended experiment and exactly what I'm talking about, how do you imagine a positive climate future that is grounded in the world as it is today and projects forward to hopefully inspire us towards real change. So without further ado, I'm gonna introduce the participants in our first panel, Kim Stanley Robinson is a novelist and winner of the Hugo Nebula and Locust Awards. He has written more than 20 books including the Mars trilogy, Green Earth and Aurora is the latest novel the ministry for the future imagines a new transnational agency that advocates for the rights of future generations amidst escalating climate chaos. Beena Venkataraman is an American journalist, author and science policy expert. She is currently the editorial page editor at the Boston Globe. She also teaches in the program on science, technology and society at MIT. She is the author of the Optimist Telescope thinking ahead in a reckless age, which is a book near and dear to my heart. She served as senior advisor for climate change innovation in the Obama White House. And finally in our first panel, Nigel Topping is the UN high level champion for climate action for the United Kingdom. He works to mobilize climate action by connecting the work of governments with voluntary and collaborative actions taken by cities, regions, businesses, investors and local communities. Previously he was the CEO of We Mean Business where he drove collaboration for climate action among NGOs working with world's most influential businesses. He's a commissioner on the energy transitions commission, a global coalition working toward net zero emissions. We're really delighted that Nigel can join us here today as well. So let me dive in here. So in August, we saw the most dire report yet from the IPCC, innumerable scientists, experts and activists have been sounding this alarm for decades now. The ravages of the climate crisis are unfolding before our eyes. What is the role of positive climate futures in this effort to reduce global emissions, to transform our economies? Where do stories of hope, imagination and inspiration come in? Stan, do you want to kick us off? Sure. And thank you, Ed, for gathering us. We, all humans have a sense of their future. They're all, we are always planning. It's one of the things that distinguishes us as a species is that we can imagine futures. So given the situation that we're in now, there is a best case scenario going forward or a range of scenarios and some of them are better and some of them are worse. If the cultural imaginary doesn't express the best case scenarios, then the assumption of all of us in general is that there isn't such a thing, that essentially we are already doomed to a terrible fate. But it isn't true. I want to truncate this by saying that the media, imagine history as a kind of a tide, an estuary, a river running into the sea, some nautical or riverine metaphor like that. There's a lot of chop on the surface because of social media and the world today. And a lot of that is foam. And then what is interesting to contemplate is the underlying tide of history which would include science and diplomacy, people working hard to make it go in a certain direction, a good direction. So maybe it's important to ignore the froth and the surface chop and focus on the underlying tide where enormous advances are being made and the potential, the potential is there to get to a best case scenario even given the dire straits that we're in right now. We have to tell that story too. We have to get below the surface to the deeper movement of history and hope that it'll take us in the right direction. You know, maybe we turn to you because you have thought about some of these larger, the large scale question of optimism in your work. How do you see that playing out in climate? Yeah, so I mean, I really came at this when I was researching the Optimist Telescope from the perspective of what inspires human beings to act on problems or opportunities of the future. What actually allows us to make that leap from merely planning or plotting for the future as Dan was saying, to actually taking the future far more seriously which I think is something we really need to do when it comes to climate change. And as Stan was saying, we have this unique superpower as a species to contemplate the future but our imagination is constrained by sort of the evolutionary purpose for one of conjuring the future. It's largely based on our episodic memory. So episodes in our past, we are constrained to Kim's point about the sort of surface noise which I'm very much a participant in doing as a journalist today and activating our concern about the immediate that reinforces for us the sense that what is happening right now is what is possible in the future. And really what we need to be able to do is expand our view of the future in order to be what I think of as pragmatic or practical Optimists who are working towards a better future, we need to be able to expand that notion of what's possible in the future. And there are a few things, I guess really three things that I would point to as sort of components of imagining the future that are really important. The first is that imagining the future is not just about predicting the future. So we give people information about climate change all the time and we expect that to somehow galvanize them into action telling people that the sea level is going to rise two to five feet within a certain number of decades, telling people that the temperature is gonna rise by an average number of degrees. And what's been often missing from that conversation which has driven both the scientific and the policy and political conversation about climate change is to me, I think of it as imaginative empathy has been missing from that conversation. So one of the things I write about in the Optimist Telescope is the Munich Olympics and the sort of scenario planning that was done for that in 1972 was really elaborate scenario planning because I think often we're using scenario planning when we talk about climate futures. And there were all of these reasons why even though a perfectly construed scenario of what actually happened there, which was a terrorist attack, you can look it up if you want more of the details were ignored and it goes to this point of if you have information about a future scenario but you're unable to really contemplate and empathize with yourself having to face that scenario or with other human beings, future generations having to face that scenario, it's going to be very difficult for you to cross into the realm of acting and caring about that more than that immediate surface rippling, more than that immediate urgent demand that's in front of you today, whether it's putting food on your table or something in the realm of your professional life, that's your piles of emails. So we have to really think about bringing in empathy and I think that is where storytelling like stands work, like the work of so many Clifai authors today is really populating a space where we can be more empathetic. There are other tools than storytelling like writing a letter to your future self or future child, even virtual reality that can help, I think bridge that imaginative gap in terms of really empathizing with the future in a way that we don't when we merely look at climate scenarios. The other aspect which I think, Ed, you mentioned in your introductory remarks is about you said powerlessness and I almost think of sort of the opposite of that is feeling a sense of agency to affect the future. So we know from looking at the behavioral science that when people think that they have no ability to affect the trajectory of the future, it's very disempowering. And you can feel like, well, why not just party like there's no tomorrow if I can't affect this future anyway. And so when thinking about how we paint the future and create ideas of the future, it's important to be able to show how individual people and how people particularly in community can change the direction in the course of history which remains true as dire as the climate predictions are today. And lastly, what I think this conversation is about is being able to imagine not just climate futures that are doomsday, but climate futures that actually make society better than it is today and better than we've known it in the past. So being able to imagine where we go as a society, does our society become more cohesive? Do neighborhoods become cleaner and safer? Can we show people a world in which taking better care of the oceans and the resources in the oceans also makes life more rich and exciting? Can we show people the wonder and awe of living on a planet that is thriving? I think that's a really wonderful perspective. And I think we have to want these things. We have to want this future. We have to be excited about it and believe in it. And I really love that both of you mentioned people, the individual people, whether they're the people who are working really hard to try and swing the arc of history in the right direction or this idea of imaginative empathy, which I am a really strong believer in as well. So Nigel, you have this unique perspective because you have really been working with people in the trenches as it were and trying to think about some of these changes and enact them. So how do you see the role of storytelling in your work from your perspective? Well, I really want to pick up on being as reflectance on agency because to me, this is at the heart of it. I think that I'm really compelled by George Soros' description of what he goes, reflects his futures like. The future that we see affects our choices today. So there's a relationship between our expectations of the future and our actions today. And what I think often happens is we fall between two standard stories, which aren't really stories actually. It's your point being of their more sort of dry descriptions of the future, which leave us with no agency. The one's what I call gloom porn, which is just like, have you heard how screwed we are?  And it basically gets to the point where there's nothing we can do. So this is the kind of party like there's no tomorrow or just prepare for survivalism. So there's no agency about changing the future. It's just accepting a terrible future and dealing with it. I mean, that's for me, that's an incredibly dangerous and I think people who promulgate that scenario are evil because they're actually saying to people, give up hope, don't do anything, allow billions to die. I've just been visiting some small island communities. They're not giving up and if we have any human empathy, then we shouldn't be giving up, absolutely. Nevertheless, a little bit of that, I mean, and Stan starts his book, Commodities for the Future, with quite a dose of gloom. So I think it's not like, so you don't wanna be the other extreme, which is what I'd say, it's sort of tech utopia, which is like, hey, don't worry about it. We've solved every problem in the past, just leave it to Silicon Valley and the tech with us. That equally, there's no agency there. It's like, oh, I'd have to do anything because the tech guys will fix it, right? So I think between gloom, porn and tech utopia, there's these more sort of pragmatic, messy descriptions of the future and positive. And I think one of the things that gives real, I mean, the key to agency is choice, right? So I think the successful literature or stories of the future that we're talking about are ones which make us think and say, oh, I never thought about that. Maybe we can organize business differently or maybe there's different types of money or maybe, you know, just all maybe, dot, dot, dot. Then we're starting to open up the agency of choosing to believe in a different possibility and therefore acting in a different direction. So I think that, I think it's really, it's about opening up agency so that we can choose different futures and just not accept what someone else tells us is inevitable. Yeah, and so by the way, I wanna just let everybody in the audience know that we do have a little bit of time for Q&A. So if you have a question for this first panel, we'll do a couple of minutes of Q&A immediately right after this in a few more minutes. So feel free to drop a question into the Q&A box on your screen. So I think that with agency also comes this notion of responsibility, right? That they have to work together and that choices have consequences and not making a choice is also a kind of choice. And I wanna ask you about the sort of pragmatic role of storytelling, how, you know, let's say we've passed this first gate of motivating people to say, look, we need to work towards a better future. How do we actually get to positive climate futures? You know, the socials and collective transformations involved in actually trying to navigate all of these challenges, there are gonna be hardships, there will be inconveniences, there will be shifting industries, there will be, you know, new jobs and jobs disappearing. The physical world will clearly have to change. The human world, the world that we have constructed will need to change. So can narratives help us explore and design pathways from where we are to where we need to get to? What role does stories play in this more pragmatic mapping out of change? Stan, why don't we go back to you? Sure, it occurred to me a decade or so ago that a plot for a narrative is simply something going wrong. So when we read fiction, which is what I do, you read for two things. It's a kind of anthropology. What is it like to be in a different time and place? And in my case, often a future time and place, so it's imagined, but if you were doing the past, it would be the same or somewhere else on the earth. So anthropology, but combined with the puzzle of say a detective story, something's gone wrong. How can we set it right? So climate narratives are weirdly well mapped by the structure of detective stories in particular, but also just fiction in general. We've got our plot. Something's gone wrong. It has to be solved. Therefore, you have agents. You have characters from the inspector trying to solve the problem or the high champion, or you have the ordinary person who's been caught up in it. Anybody caught up in this problem that actually they're besnagged in it and their lives are affected by it. And for sure the pandemic has taught us all that world events can snag your life and drag you in directions you didn't really want to go and you have to solve that problem. So since this is an underlying structure for so many narratives anyway, and we have this problem smacking us in the face that is as you pointed out in your introductory remarks is less and less possible to avoid mentally and physically. The automatic result is going to be climate fiction. There will be a proliferation of stories about the various aspects of this problem because it has local, regional, national, and then global effects all across the board. It's no coincidence that climate fiction has come about. It's the realism of our time to cope with a humanity that is at this point poorly adapted to the biosphere by our habits previous, but that can change. So the solutions are there. So really we're gonna see a lot more of this and hopefully it will be inspiring to people. I think climate fiction is sort of just what happens when we talk about the weather now. It's inescapable, it's just what we're living in. Bina or Nigel, do you wanna add briefly on to what Stan said and then I'll turn to questions from the audience. Well, this just got me thinking about what are the different narrative structures and tropes that really work from just a point of view of engaging people in fiction or engaging people in non-fiction for that matter, but also then how does that map onto realistic pathways for how we solve this? And I think part of it is, of course, there's this great, I don't know, the film noir detective discovering climate change makes a lot of sense to me from the point of view of uncovering the crime or the set of circumstances that no one else sees. And there's certainly a lot of that going on from whether it's what particular oil companies have done to cover this up or just understanding the nature of change. But I almost think it's like, this is not like the boy with the thumb and his dike or the film noir detective kind of solution that we're moving towards. I think it's like the Muppet saved the theater kind of pathway in terms of the narrative where the individual is going to maybe be able to solve one part of the climate crisis or do one thing for their community or maybe unravel one portion of the scientific mystery of climate change, but when it actually comes to how we're going to address this over time, it's going to be, it's gonna be with other people. And I think that there are narratives and narrative tropes out there that really kind of can be drawn upon to show that that's true. And I think that disempowering lack of agency we often feel, I think is because we look at ourselves in isolation relative to the scale and proportion and really scariness of this crisis and how it's gonna manifest in our communities. And we don't recognize that we are actually more than just isolated islands, even in a pandemic where we're all social distancing. We are right, we exist in community. We all affect multiple orders of people beyond us and that there's a sort of excitement and beauty to coming together with people to solve problems. And whether you go back and read about the US civil rights movement in the 60s and how people were working together and the joy that happened is a lot while they were resisting severe oppression or you look at fictional stories where groups of people come together and do things, I think that there's for me at least a lot of potential inspiration in offering pathways to getting to climate solutions that don't involve just being the lone Cassandra or the lone warrior. Because I often think that that's part of what exhaust those of us who are in this space working on climate change, just being feeling alone. Yeah, so I wanted to make sure we have a time for at least a couple of questions because I know we have some time constraints with some of our panelists. So maybe Nigel, you'd like to take a shot at this. How do you build compelling narratives and future scenarios around actions that are positive and a gentle, but they're not exciting? How do you, the things like reducing energy consumption or changing the way that we react with commodities? A lot of the things we need to do are gonna be kind of boring. So how do you motivate people around that? I don't know if that's something that's come up for you Nigel in the business world. Yeah, I mean, I was thinking a bit about what Stan started by saying in terms of discounting the froth and identifying the underlying. Of course, since that's the real trick, right? How do we in narratives point to underlying trends which are illustrated in a believable way, right? Because otherwise it just feels like fantasy and no one engages with it, it doesn't give us agency. I mean, I'm not a fiction writer, although I think I'm spending most of my time telling stories about the future. And I'm trying to do it in a really compelling way. I think of myself more as a systems entrepreneur and actually I've been thinking that often that's what entrepreneurs do, is like they're telling stories of the future to future customers or future regulators or investors. And whether or not people believe the stories depends on whether or not, and ultimately the story's gotta be backed up with reality, right? You can't keep saying I've invented such and such a gadget without actually producing it and having someone use it. So I think a lot of the key is how do you inject the little factoids which people can recognize as having truth in them? So I spend a lot of my time looking for evidence of an underlying trend that often is not being picked up by mainstream media or by the normal kind of Pareto mindset of managers who look for one of the three big things that are defining the future. And then I try and scare people by saying, dude, this is happening really fast and everything that's ever changed has gone exponential.  So a lot of things about finding the credible early signs of change and then as Venus has stitched them into a pathway which takes us to a much more attractive future. That's not the same as making green hydrogen exciting for the average person on the street. I think that's maybe too much of a stretch but I think you can make exciting the idea that actually we know how to live in a world where we have plenty of energy without burning fossil fuels. And we've already figured out the pathways and you can say, look, and here's this new steel plant being built in Northern Sweden right now that's gonna make five million tons of green steel from hydrogen that's producing renewable energy. And you can point to the news story and they say, look, you start going exponential there and in 30 years, we're not burning any coal to make steel. So I think it's about finding credible facts and then stitching them into a story that takes us to a very different future. Now, I know somebody needs to disappear. Is that correct at the half hour or do you have time for one more question? Yes, okay. I'm gonna just throw this out for all of you. How can these salvageable future climate narratives be used to mobilize not only individuals but also sectors of society like foundations, higher education, government funding agencies. And I wanna shout out, Samuel Churchill asked the last question on Zoom and Laura Pedrick asks this one on Zoom. Well, I mean, I think Nigel in part just gave a great response to this question because I think there's this question of how do you go from the narrative to sort of motivating particular actions in particular sectors. And I wanna be a little bit careful here of putting too much pressure on and I think this goes beyond fiction writers. This is really artists, right? Like there are a lot of creative people who can help populate our imagination of different kinds of climate futures and different kinds of futures on the planet. And, but I also don't think we should necessarily lean on artists too heavily to then make that leap to translating it into action in part because I think when art gets too didactic or when art gets too belabored by trying to drive actual progress it loses some of what it actually has to offer us, right? Which is the sense of like really revealing to us and helping us explore what it is to be human and what it is to be alive on this planet. And so I would just hate for us to like layer that all on to every clarify writer out there who might be watching this or thinking about this. But at the same time, I do think, right? Like why aren't we bringing in more possibilities of how we imagine the future into these conversations that happen? You know, I've sat with business leaders and with government leaders from all over the world to talk about climate change. And mostly what we've focused on are those doomsday scenarios. What happens when you have a heat wave and the elderly in your city are really vulnerable? Where are you going to put your cooling centers? Where are you going to do this? And why not take some of the information about what we know about social resilience, for example and say, look at this community. For example, in the nineties we know there was a neighborhood in Chicago that did really well in a heat wave at preventing deaths of the elderly. And why was that? It was because people knew each other and understood each other and knew the older people and the vulnerable people in their neighborhoods. There were a lot of local, leowned businesses what Eric Klinenberg, the sociologist calls social infrastructure. How do we populate an image of a neighborhood that does really well in a heat wave? If someone has imagined that if there's a writer who's imagined that if there's an artist who's imagined that can we bring that into these kinds of conversations where we are trying to help city planners or industry leaders or even the cop, the countries coming together globally to make decisions about their climate change commitments so that we are bringing into the space not just what they're trying to avoid but actually what they're trying to do and in studying social movements and sort of how they achieve change I think part of what we learn is that people are motivated by having a dream knowing you can imagining black and white school children going to school together motivates you more than simply the act of resisting violence or oppression I think the same can apply with climate change where if people can get their heads around some of these climate futures in these fora it could do a lot to motivate people to make more substantial change. Really like that idea of thinking about this also as culture change, a kind of sea change and that it needs to happen at all of these different levels in order to really be successful and again stories are such an important part of that because we can all write ourselves into this story. Bina, Nigel, Stan, thank you so much for being part of this panel and I'm sorry we didn't have there are a lot of fantastic questions I'm sorry we couldn't have just attained you all day to ask them all but I want to transition to our climate fellows now so let me introduce them briefly and then we'll have a discussion with them. Libby of Brenda is a writer, editor and translator based in Mexico City she writes fiction as well as non-fiction and criticism about science fiction and fantastic literature she co-founded the Cumilude Tesla Collective a multidisciplinary working group that promotes dialogue between the arts and sciences and Mexicana imagination and future a series of conversations about the future in speculative literature she was the first Mexican woman to be nominated for a Hugo Award for the bilingual and bicultural anthology a larger reality or una realidad más amplia Hannah Onogue is a writer of fiction and non-fiction based in Yanagawa, Bayosa State and Southern Nigeria a region famous for its oil industry her short stories have been published in the anthologies Imagine Africa 500 and Strange Lands Short Stories her collection Cupid's Catapult was one of 10 manuscripts chosen to kick off the Nigerian writer series an imprint of the association of Nigerian authors she is the winner of the association of Nigerian authors poetry competition in 2016 and finally Bandana Singh is a speculative fiction author physicist at Framingham State University in Massachusetts and an interdisciplinary researcher on the climate crisis her short story collection Ambiguity Machines was a finalist for the Philip K. Dick Award for work on a justice-centered transdisciplinary approach to the climate crisis as part of a forthcoming UNESCO volume charting an SDG 4.7 roadmap for radical transformative change in the midst of climate breakdown so welcome all of you it's nice to see everybody as I said before you know this so much of our work is virtual now so it's nice to have these gatherings and convenings so for this project you're all engaged in creating these new positively inflected stories about climate futures we've tasked you with all everything we've just been talking about we've asked you to take on as a writing prompt how do you integrate climate science emerging technologies into your stories as well as information about local communities and cultures, physical geographies, everything else what knowledge and information goes into making a good story about the climate crisis and our responses to it Bandana would you like to start?  Sure, thank you and I just want to reiterate what a pleasure it is to be among you all and yeah, so this big question well, first I want to nudge at this term positive and to reiterate in fact Nigel said something similar that what I construed as positive is a kind of positivity that does not deny the reality of climate change and the unfolding apocalypse that marginalized people in particular have been going through for a long time but one that actually engages with the experiences of people in those communities and then tries to figure out, okay how do we get creative? How do we find ways out of there? So what I'm going to try to describe is my perspective which is positive in this sense and also part of it has to do with listening closely to real world stories and particularly with real world stories of marginalized people in locations that are climate vulnerable and to me it's like the climate science part of it of course which is something that I consider myself a climate translator as a physicist who teaches climate change in my classes and so the question of what is essential for everyone to know about climate change is really interesting and to me those essential points have to do with imbalance in the carbon cycle the fact that climate change is not our only problem but is intimately entwined with inequality with biodiversity loss with the imbalance and the nitrogen cycle all of those are the factors so I see climate change as an accelerant on a house that's already on fire so we have to pay immediate attention to it but we cannot ignore the fire that's been burning for the longer time so the way I see it and I'll end with this is that often people simply default to the techno fits as the way that you look at kind of solving the climate problem but we cannot simply we often don't look at the context of technology who is benefiting, where is it coming from what are its impacts both on society and on the environment so for example we know that electric vehicles we need to switch to electric vehicles there's no doubt about that but can we simply replace fossil fuel vehicles with electric vehicles without changing the socioeconomic structure I mean if we do that we're talking about mining the ocean we're talking about increasing perhaps fourfold the amount of mining we do for the materials for the EV batteries so what I really want to do is to take the power of fiction which I see in two ways to kind of like firstly ask those what if questions like what if technology arose from the needs of people instead of being imposed on us stop down by systems of power what if we had you know and so I look a lot at the low tech that already exists in cultures which we don't think of as technologies and finally the power of fiction is not really and this echoes what Veena just said that it's not so much to come up with blueprints for the future although I do think that it can give us ideas and ways of thinking the power of fiction, speculative fiction in particular for me is to put us in a different headspace to immerse us in an alternate reality where we suddenly see the world in a completely different way so Hanna, what about you? How do you think about this question of storytelling when we're also trying to draw in all of these different ideas, different fields of knowledge or even you might think of them as practices and methods and as Vandana was saying also knowledge that might not be the top down sort of Western scientific industrial complex but other kinds of knowledge Well, yeah, thank you once again for having me of having us For me, from my perspective on this side of the world first of all, we look at what are people willing to do for instance, when we talk about climate action I want to use the pandemic as an example you had the lockdown over here and then people said why are we, what's happening? How am I going to earn my daily bread? They're not able to envision thinking about my health they're like, I'm going to die anyway if I stay home, my kids are looking at me they're expecting food, they're expecting something and then you start to stay home it's like, you weigh the two and one weighs heavier so you think of the climate thing and it's like that's so far off so you have to get people to look beyond that survival mode of now and look in a place like Nigeria where you have governments and leadership which is faulty and failing you think, first let us try and solve our problems before we start thinking you think those are developed country problems we have to start where we are we haven't gotten there they're like, oh we have to solve our we have this poverty issue you have power issues so it's trying to translate that thing from where you are to where you can be like we have oil spills like in my story we talk about all these things those things are still there and they're like, okay so why don't they come and do it why don't they come and solve the problem what are we going to do we've been crying out for years we've been talking about this and we've been complaining and nothing seems to be happening so why do you think anything we do now is going to make any difference so it's having to think beyond like when I was talking about let us to future children thinking about, okay I have children who are going to have children and what are they going to inherit I think that will help to kind of spark some kind of responsibility or some agency of, okay if I do this in my little way then maybe it will make a difference Thank you, yeah I think that question of the fundamental needs that any human has we have to think about how we address those as well as asking people to think towards the future and it's very difficult to think towards the future when you're uncertain deeply uncertain about what might happen tomorrow or even what might happen today so I think some really great points Libya I'd love to hear you talk about this as well because you have created a kind of collaborative structure or part of a collaborative structure that I think seems really interesting and engages with some of these questions of how you move between art and science storytelling and other kinds of discourse so how do you think about your work in this relationship? Thank you Ed and hello everybody Well, first of all I think how Bina was pointing out earlier sometimes we deal with very heavy concepts and sometimes we feel like a burden you know what can you as a writer do to change the world and it's like, oh my God, I just can't read a story I just can't write stories also about earlier you were talking about lack of imagination and I think that is a key word in this context imagination is necessary to the science imagination is necessary to write stories imagination is necessary to live actually as human beings we need imagination even to start thinking what am I going to eat at my lunch hour, I need to imagine at first and sometimes we kind of step up like, so slayamos I don't know how to translate that word in English we made aside the idea of imagination as just something escapist for instance and I think imagination is a very, very, very powerful tool and I was thinking hearing Vandana and Hannah how in Mexico for instance we have to deal with a lot of issues that are not only international and huge but also we are the product of colonization we are now living in this weird place between the late capitalism and our own and environmental issues so in that context what can we do it's probably very little but it's okay but it's little because we are only humans we are, I am just one person and I can only do so much and I can only reach so much but language is a very powerful tool also and it's a very, I don't like to make like metaphors as oh this is a tool or this is a word but English is my second language so bear with me please anyway about what you were asking specifically I work with a collective of people scientists and artists and writers from some years now and it's the best thing it can happen to me in my life because I like to say I have a lot of imagination I can imagine a lot of things in my head but I am just one person so I am finite I have limits but if I connect with other people suddenly I became infinite because I create this net of ideas, of souls, of conversations so to work with the Cumulo de Tesla and Mexicona these wonderful people here from Mexico that are interested also in science fiction and in art and in sciences my horizons expand so we are creating this sort of short fictions about what if as a result of the changes and the climate crisis, et cetera what if one of our volcanoes exploded the I see what, which is near to Popocatepi that Popo it's more famous probably, worldly and the idea is that probably many people get isolated and many people had to looking for their own resources to survive and it kind of reflects what is happening in the world that is not in Zoom that is not posting in Twitter on the internet daily lives that are affected by real problems that seem small but at the same time reflects what is happening in the whole world right now we live in a moment in history that we feel the necessity slash obligation probably to be connected with all the world and we feel that when we speak even if I just tweet that I make cookies I have the illusion that I am speaking to a very large audience 100 years ago everybody knew that their voices were limited that their voices were just like you can hear me and probably if I write something someone can read it but now we have this idea of the global communication so I think we can learn from just listen to little voices and observing what is around us and trying to be conscious about where and how we are living right now in this point in history and just to finish I was thinking right now that listen to everybody I was remembering Gabriela Damiami but Miraveta another Mexican writer which is part of this collective group she was talking lately a lot about superstition which is this kind of concept in which you can it's a sort of very reductive reductively it's sort of a prophecy that you write in order to became through so if we are imagining the future of the people that is going to read us from the I don't know 20 years from now what we are reflecting if we as science fiction speculative writers are reflecting our world what we are building, what we are imagining and that I think it's a very interesting question so the local resources are way more important than the global resources the local communities and the way of doing things I think it's more important to see for instance, I don't know in Mexico how people have been cultivating the earth from centuries before colonialism maybe there is some answers there it's not going to be the answer that solves anything everything, I'm sorry but I think there is something very rich in there that we are able to now comprehend it another way I don't know if I think that's a really great point and there's so much we can learn from one another that we are not sharing right now so much of our communication and knowledge structure are very top down or very one way and local knowledge and indigenous knowledge and different practices are sometimes those ideas, those life ways have already been forgotten or they're just sort of tenuously hanging on and I think it's really important to find ways to empower communities to have those voices as well I wanted to make sure we left a little more time for questions for you all as well from our audience and if you haven't please feel free to put some questions into the Q&A again but I wanted to ask one from Autumn Po which is any advice for graduating students wanting to get involved in the climate change conversation? I don't know Vandana if you have any thoughts about that Yeah, definitely but I'll try to be brief I think that like Libya has also mentioned it's very hard to do things alone and modern industrial civilization the globalized culture that so many of us live in actually just encourages us to be isolated to be individualistic so I would say that yes first find a movement or a group of some kind maybe in your neighborhood maybe in your job or maybe in the area and there are also many groups working with this grassroots perspective nationally and internationally and work with them and see what you can do to give to those movements and groups but also be aware of the fact that power and power structures historically have generally stood in the way of positive change so we also need to pay attention to those and to basically at the highest levels when conversation takes place about climate change then we need to interrupt that narrative with reality checks so that's something that students can definitely do Thank you so there's another question here from Brian Alexander I'll leave this open to anybody what is the role of colleges and universities in helping the world foresee this crisis and our possible futures in it? Well I can talk about that but I don't want to hog the mic here so please Libya and Hannah if you have something to say on that please go ahead Not everybody has access to university first of all second of all as long as the knowledge is circulating I think it's more interesting to think what questions can you bring and what, yeah how can you also ask things from the universities or educational structures in order to help to move things because everything is so vertical right now like I have the knowledge I'm gonna shower over you and it's like we need to be more horizontal that will be I don't know if it makes any sense as I am saying it but we need to be more horizontal and that will be my response That's a great point as well so I want to ask well I guess Benana did you want to jump in as well or That's fine I think I'll just say this much that I think universities and colleges tend to reproduce the status quo but they need to become revolutionary forces for change and the only way to do that I think is to break the ivory towers as the bear was suggesting to grow more horizontal to engage with communities So again I think that's a really great point this next question I think maybe Hannah you can take on can poetry or literature be a great way of empowering and involving people in environment improvement Yes thank you Yes I think it can and talking about imagination and how it's so important to think to actually imagine a possible future So for me just to even harness what we've talked about for young people not everybody's in university but like what happened in Nigeria last year cut across whether you're in school or not I don't know if you heard about an End Stars protest that took place there were it had illiterate people in quotes it had students college age students it had some older secondary school students so it cuts across when you have that need of okay this is our issue how are we going to come together to solve it I think poetry a lot of people a lot of those people there on the internet they're in social media that is how they got word across that is how they communicated with each other that is also how they can inspire each other poetry and fiction can do that and it will cut across as long as you can hear a language and it doesn't have to be English we have even with the pandemic you're sending out messages in people's local languages so they can understand and grasp the seriousness of the situation so it's not always about education like you're saying we go to school and learn this you hear from your friend what is this about you explain it to them and it brings a better understanding you're kind of like that missionary who someone can relate to why are you doing this so and so this is for the environment and they can have a better understanding and if it's cloaked in big English and long words and things that generally might not it might take a while to break down so if you have if you come down to people's levels and communicate to them in a language they understand it might be poetry, it might be the local storytelling that it's not as it used to be with them the advent of TV and other media but you still have some oral tales that you tell you know people here in villages and all that such storytelling can connect with more people to give them more of an understanding of why they need to act and why it's important not just to think oh well we're doomed anyway so what is my little contribution going to do so I think yes it can go in a long way and help them with that Thank you Hannah that was beautifully said and that feels like a really good moment actually to bring this to a close so that we are on time I want to thank all of you for participating today and the tremendous work you're doing with this project and more generally around climate futures it's such a pleasure to get to work with all of you and I want to thank everybody for attending if you'd like to learn more about our project you can go to climateimagination.org you can also see some other upcoming events we have on September 7th we're going to be doing an event with the Journal of Science Policy and Governance around science policy in climate futures and on September 22nd we're going to be doing a conversation about climate futures with the British Library those are both going to be virtual events as well you can also check out Kim Stanley Robinson's TED Talk Remembering Climate Change a message from the year 2021 and I'm going to check in with all of our panelists but Stan at least has offered to respond to some of the other questions over a message that we can send out to everybody who RSVP later so if you didn't get your question answered in the panel maybe we'll be able to get an answer for you and we'll check in to see if anyone else can participate in that as well so I want to end here by just saying thanks again to everybody for participating and joining us all of the great questions all of the great thoughts from our panelists at Future Tense and the new America Tech team thank you to the UN Climate Champions team to the TED Countdown team to Climate Works there's such a tremendous coalition of people who are excited about this work and involved in it and it feels like this is the time this is the moment to be working on this and having these conversations so thank you all again and have a wonderful day


Now, former president of Lucia Gombás Mujor says Nigeria needs more rebels who speak truth to power, not minding whose arches goad. Abbas Mujor stood at the east in a bell quarter while unveiling the autobiography of the Babala Dini of Egbaland, Chief Tire Showme. It tackled footprint of a rebel. It was part of the 80th birthday celebration of the former activist and elder statement. However, the serving overseer of the Citadel Global Community Church pastor Tore Bakare called for intergenerational reintegration between older and younger generations as part of efforts to rebuild Nigeria. Those who will look at things straight in the face and say, this is not right. This is not on. This will not be part of. This is not good for Nigeria. Nappers, drug pushers, drug users, users, corrupt politicians, and treasurer in the public and private sectors are products of families. These functional homes produce these functional nations, but strong families are the units of a strong nation. The transference of a worthy legacy from value-driven parents to their offspring will result in value-driven societies. Second, we must embrace the redentive value of culture. We must revive those aspects of culture that foster community spirit and nation building. Mindful of the African proverb that says, it takes a village to raise a child.


Just do your thing, just walk or whatever. Yeah. All right, so what I'm doing that over. What I'm going to do is I'm going to be quick. Back in, it should be the same. It's going to fluctuate between 8.4 and 8.5. I'm going to pull up back in there. Shake it up real quick and then take a look at it.


Head first! Head first load! Head first load! Grab it off. Middle, remove these for the next iteration. Yep.


When Budokai Tengai G4 was initially announced, me and my friends, Rybstal and Siriax, immediately went back to the old games with mods to see what Budokai Tengai G4 might look like. While we've done that, we've created the hardest raid bosses the game has ever seen, and now, with the newest edition of Beast Go On to the BT4 roster, we've decided to come back and do it one more time. With the recent announcement, I don't like it, but stop dude. Bro, please. Bro, cook. It's fine. It's fine. It's fine. It's fine. It's fine. I got a great intro and he changed the word recent to initial. It was like, this is good. I'm probably going to be Goku. Alright, I'll be Vegeta. Now, I know what you're thinking. Who are you going to pick?   What do you guys close your eyes? My eyes are closed. My eyes are closed. I want you to be surprised at the character that I picked. The character that I'm going to pick is going to be incredibly broken. You guys just aren't ready for this. Who did Bro go with? You'll see. You'll see. So I'm very, very scary. So I'm very, very powerful. Can either one of you guess who I picked? You each get one guess. You each get one guess. Bro, what are you? Sidemen? I don't know. I say that. I'm going to just say, yeah, Drowy. And Bro got a silhouette. Yo, stand up. Go, go. Oh, let's go. He's got a cook. That's your son. Put him down. I woke up. Wait, whoa, whoa, whoa, whoa, whoa, whoa. I must be clicked off. Damn, damn, whoa, broke the stage with one front. What does he mean? Power up to the very limit. Why? He is strong.  Just fight back a little bit. Yeah, I'm trying to do a little dance. He's not letting me do. He's not letting. There we go. One burst is all I need. You should probably get a little damage. I will in a second, just one second after he's done destroying the stage with me. Yeah, right, right, right. Right there. You're at the culmination.  Yo, nice. I don't know, but I didn't want it to because I would have lost. OK, so we're starting to see that he has two blue bars at least. And he's healing. You'll probably have it all back by the end of the. I missed. Why is he healing so fast? It's part of the construction for Taurus, not you. Yeah, yeah. He powers up to the very limit and that's fine because I'll just, I'm going to do the same thing. Did you jump or you just, you just push him on down? I think I'll just, I don't know how to jump. You wanted to hold down and then transform. Vegeta! Not now, Cloud, look at his face.  All right, all right, so I'm going to see you. So I'm going to see you when I see you. You got behind you. All right, bro, if I turn around all the way here. Get up on me! Ah! I think there's not going to be a show game to read a left. Don't you charge up on me. He charges up so fast. All right, now he's immune to key loss. Oh, I was right.  Yeah, it is. Don't worry, I'll provide sense of beats. I got this. Damn, damn! Just give me a second. Oh, in a way. In a way. It might be. Oh, you missed.  Let me show you true power. Hey, did you get the blue? All right. Oh. There he was trying. Just don't back at me. Oh, I thought that was the worst part. How much damage? Good lord. Oh, it's a J. David. 15 K. All right, bro. The ace in the hole. I got a sword. That's not the ace in the hole. Oh, yes, sword. Sword. That's the word. Bro can't dodge a couple. Lamb slicer.  It's just bad to game. Bro, get up.  Why is he letting us out? You got to get closer. He's going to get too far. Stop the attack. I am literally the most unbeatable character in this game. He literally can't beat this. Who's the god to a Yajirobe? Fight back. He even joined his own key pass. No way. Hold on, I know what to do. I know what to do. Watch this. That's not one of these. Oh, you better hurt him. No way. No, you better talk to him. Why did you go blogging? I did, but what do you go? Dan, now you're lost. I'm over here. You should have stayed with the key pass. I got a sword.  You should have stayed with the key pass. I would have just kept my distance. But that's just me. Come play him, slicer slash. Over here. He doesn't care. Damn. He doesn't care. I agree. I don't. Oh, he's fast. He's actually quick with it. Why is he faster?  Bro, I'm telling you, he vanishes everything. Oh, and that's going to be it for Yajarobi, which means that we got the main character coming in. Yajarobi is going to get reduced to ash, but that just means that I'm going to have to win the game for him. First thing's first, I'm going to kick it up another level. Why are you looking down? What's going on? Super Saiyan. He's looking at the bug. What's that? He's strong. No, my full power counter. Oh, where is he? Where is he? No. OK, well, Bob. I got to carry. I got to honestly sit back and relax. I understand that everyone at home is like expecting how you get to watch them get their ASB. No, that's not the case.  Why are you throwing Keyblast?  All right, fly into it then. Why are you flying into it? Just to blink it again. Just curious. All right, bro, full ball. Interesting attempt. Please. Whoa! Oh, damn! Whoa! He just did that to teach that he could. There you go. Don't let him get full health. I'm just throwing this so he thinks about not charging it. Yeah, I'm better. Keyblast, let's go. I've learned that this is broken. No, it's only my eight. He can't stop it. Yeah, then why is it, bro, it's working on him right now. He can bounce back. Oh, yeah, he can bounce back. Yeah, he's too busy trying to pre-op by charging up. The sore one, he can't bounce back. Why is he charging at you like that? Yeah, nice attempt. You got that. Nice attempt. Nice attempt. Why is he doing it again? All right, bro. All right, bro. Oh, he stunned you. All right. So obviously you vanished. He stunned you with the key. Yo, he watched us do that. I was like, whoa, that's a good technique. I let him know who I was. You know what? I'm going to kick it up to God for him because he embarrassed me. You know what? I'm black. Let's go. All right, close your eyes.  I'm Goku's real son. Why do you always have these surprises, bro? All right. We've made it to the desert. Gohan, hold. Look at the way I fly in. Battle of gods. That's me. Now, the question is, will you guys... You have to stay on it. What do you mean? I didn't do anything. Clash with that. No, you've lost because you're going to lose the clash. Oh, no. Don't shoot me. Don't shoot me. Watch that. Oh, he's doing this keyblast. You learned from you guys. He knows. Oh, what? He's throwing me to the wall like that. In this update, they also made it where if you attack from behind, they do the thing that Dado does where he pushes you off. Dado, you're blowing your chance. The only time we can ever hit him. That's the one. Grab the bash. Gravity bash.  You got to win this. You got to win this. You're losing. No, you lost. No, I lost in the last second. You lost by one. Don't hit me against the wall again. Please. I can't take it again. Dado with no clutch gene. I got no clutch gene. Please. I got no clutch gene. Damn. Damn. Good lord. Is it not over? It's your turn. No. It's somebody else's turn. I'm black. All right. Why first time making a little sound effect? Please. He loves burst rush. The only time you can ever hit him is when he's not at full bowers. It's futile. He's a beast. Dodge that. Dodge that. Get it on him. Get it on him. Nice dodge. Now. Bro. I don't know if it has anything to do with matchpower. No, it does. It does. I'm letting you go. Smash it. No. Don't go full bow. Too late. Bro. Yes. I'm better than you are. I'm better than you.  But I hurt your face. Bro. Yeah. Yeah. Ball of damage. Yeah. No, no, no, no, no. Don't follow it up with special beat. Go, go, go, go. Yeah.  There you go. I have the unstoppable. Let's go. Raining, lightning. Watch out. They call. Oh, Shane. Shane.  Hey, guys. Be tight on a rock. I am going to throw a rock at you.  And you thought that would work? Yes. Because that's gross. He's calm with the air. No matter how strong you get. That's why you got to look like a bobblehead. That's just how he looks. That was a desktop ornament. Oh, my God. Back up, back up on me. There you go. You got to stay aggressive when he doesn't have full strength, which he's probably going to get. Stay aggressive. All right. I'm writing that down. Very soon. Shit. I told you. It actually hit him. He turned me around. Damn. Help. I can't see, man. The launcher. Damn. I don't know why the deaths are so funny to me. I've got to kick it up to another level. To blue. This isn't even my strongest, by the way, Gohan. So don't even think. But you know what? I was told to stay aggressive. So listen, after this rush move is done, I'm going to be aggressive. I'm going to be all over him. He's not even going to get the charge. No, don't worry. Don't worry. Don't get mad. See where though? I'm still on the ground.  That wasn't allowed to play at all. No, no. I got something for him. I got something for him. Show me your full strength if the game doesn't break right now. So I didn't go up to UI, but instead me and Dion are going to try to fuse. I think it's our best bet. Try. We'll succeed easily.  You just have to try to add so much to that lip sync. See who it is. Oh, we already counted. No, we can't. We're going to have to be base form. All right. Well, I'm just going to hold them off. If I get enough blast stocks, then I'll do it. I'll just have to be aggressive. Oh my God, the clash. You're losing everyone. We're not going to be able to fuse at this pace. Bro, it's bro. It's DC. All right. You might want to kick it back down. Oh, there you go. Nice. You are number one strategically though. All right. That's fine. That's fine. I could do this. But first of all, I should not be in blue for this. I got to kick that peel off machine. Why are you doing this? So you still need three. Okay. I know what are we doing? We're not going to make it. We are going to make it. I believe it will make it. We're not going to make it. I'm buying time. He makes me off. I try to block that. You're doing great. I'm good. We are going to fuse. Trust me. It's just delay in the game.  You're buying so much time for us. You're buying a lot of time here. I'm going to buy plenty of time. Bro, when he's full baller, just hopefully. Stop. Stop going. Don't make me.  I can't. It's hopeless. Don't show me. I live these, but barely. Ah. That's a solid 22,000 damage. No.   That's it. That's it. That's it. That's it.  Oh, you're dead. I'm blocking. I'm blocking. I'm blocking. I'm blocking. I'm blocking.  People have just died in there. This is all AI now. He's AI control. We are.  I'm going to beat me now, bro. I think you just got worse. I think you just got worse. He was going to beat you before. Oh.  Good luck.  Good luck. You got to use us. You got to use us. Just leave. Just leave. You got to leave. Next time. Just survive. Oh, it was a smart decision. It was a good try. I would have been the same. I'm just want to leave. Keep running. Keep running. Keep running. Check if it's two or three for him. It might be different. It's not going to be different. It's going to be three. We all know that. We all know that. We all know that. You're so close. I just have to cross. You just have to try. You just have to try. There's no choice. There's no choice. Oh, no. Who am I supposed to fuse with now? You know what? I've got to... The people... Whoa, whoa, whoa, whoa, whoa, whoa. I didn't even get the chance to leave. People of the earth. Hear my call. I need energy. Oh, it's too late for me. I like the idea that somebody just sitting in their office chair like, people of the earth, please. I will survive. We're just doing this one more time. Oh, you're not even at full power, you dork. You're not alive. All right. Oh. My armor softened the bloke. Damn. I think your pride also softened the bloke, too. Damn. Damn. Damn. Then I dodged this one though. Okay, watch this. Watch this. I saw it. You may have tattered my clothes, but there's one thing I say and always keeps. Running away. Yeah. Easy evasion. And now I'll... No, no. I'm fine. I'm fine. I'm fine. Bro, I didn't even get the chance to leave this game. I just have to hold out. Tag out. Tag out. Tag out. I can't. I can't. I wish I could. I can't. All right. Now I'm going to hold the... I'm going to hold the fort here. Let me get away. Let me get away. He would never dash at me. You're his father. Both are one key less. This will teach him. Swaddle. Swaddle. I'm trying. What are you doing? Pick it up. Wait. Just grab a mosquito up the air. Damn. All right. I'm at one. I'm at one. I'm at one. That's pretty good. Two more left. I dodged that pretty easily. No, hold on. We're going to be firing these special beam cannon. Why? What is he doing this for? All right. It's okay. It doesn't track. I can dodge that. I can dodge that. It doesn't track. Yeah, bro. Just gently sway to the left. All right. Now he doesn't charge at you. It's time. It's not time. Ready three. I know it's not time. I know it's not time. But I needed to turn back. No. He doesn't turn back too. All right.   That's easy. Hold on. Hold on. Hold on. I'm going to try. It might not work. Do it. Do it. Do it. Fuse. Fuse. You don't think I'm trying? You can try. You're going to try, but I might need base. Bro, don't die. Fuse. It's not working. All right. Tag me in. Just tag me in. Don't touch that. Go back base and then tag me in if you can. I'm trying. I got to spend health. Damn. He skipped me like a rock. My God. Why are you still skidding? Damn. It didn't work. No, no, no. You don't charge up. You don't charge up. At least we still have peel off machine. I am the peel off machine. I'm going to fuse. Immediately. Immediately. He's a super. He's throwing hands. Yeah. I got a gun. He's only weakness. Oblique.  Good luck. Fine. He can't stop this because I have a giant mirror. Wow. That's true. He loves spamming that move. He can't use it anymore, but he can't do that. Oh. I'll dodge it. I'll dodge it. I'll dodge it. That's a combo. That's a combo. That's a combo. I'll dodge it. Damn. There's a head of its time. Bro, please. Too bad it's going to be destroyed. Damn. He's letting you go off the road. You got water. I want to himself cook this thing up. I'm not supposed to get a water. Got a gun. Bro, you should have got a lead and gunned. Oh my God. He's got you up against the wall. I can't see me. I can't see. As long as he doesn't especially get in you, you'll at least survive the impact. I don't. All right. All right. Hold on. Let us get in base before we have to do all this. That adds a little too much. Sam up. No, no, no. Honestly, I got you. I got you, bro. All right. We're going to go somewhere where we can hide. Damn. Okay. I'm seeing a lot of areas. We can go dash behind. Get old. Yeah. Time. It's time. I'm just letting you know if I'm picking the fusion, we're using the ear. That's why I'm superior. This is the part where I ask the competition. Vegeta or go Jida fight. He actually. Oh, look, he doesn't even know where you are. You can't even get to you. Oh, he's funny. Don't speak. Don't speak. Don't speak. They empowered to the very limit already. Oh, no. You know, you got hit with a key blast and no shot. No shot. No shot. You picked this map because you can hide. You got stuck on wall. Bro, I didn't know where the limit worked. He slaved you to the side of that. Everything's fine. Everything's fine. He's going to get stuck. He's still locked out of you. What do you mean? You also have the tag out off him. Yeah. Yeah. That's true. Okay. I didn't know we were going to be doing it like this. Don't worry. Tag me because I'm immortal. I got hit. I got hit. I got hit. It's not good. Hold on. Does Goku have solar fl- No, it costs blast stocks. Never mind. I was going to say if you could solar flare and run away. Why is it taking forever to tag me in? Bro, I dodged that. Easy. I don't just got here. I literally didn't just get here though.   Don't worry. I'll hold him back. I'll hold him back. Yeah. You can't be tagged in yet. I'm just keeping him behind this mountain. Yeah. Nobody knows the lands around here like Goku knows the lands around here. You have to. You can run. I know. Get to two and then bounce. Why did you not wait here? Get over here.  What is going on? Darkness illusion. Oh, he can't. Can he not grab you? Oh, nice dodge, garlic junior. I am literally immortal. Come here.  Absolutely. I would say so. I'm going to grab you. What is going to be? All right.   Hold on. All right. You get some distance, then tag me in.  Like a puppy. Please. Oh, no. You can't even punch him. You can't even stagger him. Good luck. It's your turn to slip. Bro, what part of the scene did you get in when we're a good distance away? Did you put us down? Why did you? Why did you do this to me? I believe in you. I believe in you. I believe in you. Two bars. Two. What are you? How much do you eat? How much do you eat? Three. He'll never find me. We can play this game. We can play this game. Please tell me. Bro, I ran into the road. Take him. There's no fusing with me. There's no fusing with you. I'm just going to go to the mortal. People of the earth. People of the earth. People of the earth. I need you now. There's no point in throwing key blasts. How many times am I going to tell you this? You missed every key blast. I vanished this. There you go. You do vanish it. Okay. Now you're dead. He's mad. You vanished it.  You can't budge him either. This is insane. This is not good. Fuck. It's okay. The hero that nobody expected. God Jr. is going to survive. He charges so fast. Hey, where'd he go? Where are you punching? Dude, what? Bro, zoom past. You broke your health. Where's my panic? Where's my panic? Where's my panic? Oh my God. We're trying to do that. Hey, bro. We're trying to down. We were trying to find it with you. Guys, I know what I have to do. I have to open the dead zone. You better hurry up and drop me in there.       It wasn't even a dream. Hey, just open the dead zone.   I know you want to do it.   I know you want to do the fusion bit, but I actually might have an out, bro. Wait, what? You want me to cook? I have something that might be able to put this guy down for good. Oh, go ahead then. What? We just got to win. There's going to be two Goku's because I'm charging up the spear bomb. Well, then if you're going to be Goku, then maybe I'll take a break to be somebody else. I've got to find a way to get through to him. And I think the only way to do that is to- Be his uncle. I was going to say, I'm going to show him a little something. Oh, Raditz. Yeah, that's his uncle. You never play as that character. You know what?  I'll kidnap them once. I'll kidnap him again. Bro, don't say that. That's going to get taken by context.   You think you're going to be able to charge the spear bomb? I've come to the conclusion that we can't beat you, but the people of Earth, the people of the universe- He's already maxed out. But I'm fast. You are relatively quick. He's already coming. Oh, no. Don't throw it. Don't throw it. Don't throw it. Thank you. Thank you. He's trying it though. Come here. Come here. It's the first damage we did in the past hour. Nah, I did damage, bro. Dammit cost two though. I need to charge up the spear bomb, but I've got to survive. Bro, that's going to take breath. This is going to take all day. It'll count. It'll count. Just make sure you don't miss. That's the important part. I won't miss. I won't miss. In matter of fact, the reason I know we're going to win is because we got brotherly love on this team. All right. Hold on. Uncle. Why didn't you wait for the second bar first? Yeah. Boom. It saves. It doesn't really save. Oh, look at that drop kick. That was the most physical. It was the weekend. There you go.  Yep. Yep. Yep. That's our doddle. Don't say yep. He's losing all of them. All right. Yeah. You maybe think I was winning. Bro said yup. There you go. Bro gas lit him into thinking he was crazy. See, all he needed was red. Bro, you had armor. You had armor. Dodge. I dodged this easy. I dodged this easy. Don't worry. I'm devil, man. So I can kill in one shot. I'm going to witness. That's only against evil people. He's evil. Wait, what? This doesn't work. But just don't believe. No, I hear him. I hear him crash. Oh, what?  You're really hanging in there that last second. You died. I am devil, man. How's it work? How's it work? How's it work? I hate to say it, but Raditz died to special beam cannon again. You don't need three. You just need it. It's your ultimate. That's all you need, right? Even for a crush. I like how they merged into the clash.  Back up.  Oh, you're dead. You might be dead. There you go. Why are you scratching him? Bro was scratching him with all I need is just one ultimate one open he dies I don't think you're gonna get it Wait, maybe right here. He's giving you some space. Oh, yeah dodge and then charge dodge charge. Here you go He seems pretty pissed though You think that you're gonna get it Okay, I held him back enough for Goku to charge a spear bomb and win to get one charge on the spear bomb Let's go do it. It's that you got this. You got some belief Oh Now I got it. I gotta get people the earth. Hi. Hi. He's stuck. He's stuck. It was it was fake I got it up. I got it up. But now if we can just if we can just find the spirit. Look at all Where is it? Where's it? Where's that? Where's it? You might be able to see it floating in the air? Let's see. Let's look around. How about you just look worried about surviving bro. I'm gonna say I'm fine Rose Rose take any surroundings Strong-ass rock right there That might have been Dwayne Johnson Oh No, I can't go out like do you know? When I get to see it when I'm dead the people of the earth are just tired Alright now, let me let me get back to Goku. I've got a plan. All right We've assembled the strongest warriors here today to try and take on beast go on. I'm going in with you I go cool. I actually feel like everybody on your responsibility I Okay, what happened to this guy? Oh, did you choose? I was gonna say cuz I know the game for you normally None of the characters we were thinking could stagger him. Oh I know but I thought it would there first rush. Oh Block it. That's fine. Oh, just again. Well, I'm our health. No reason. I have to call in jeer in here I'm gonna try to get away Not so good Team clutch me that cow.   Let me show you Damn, I don't trust anyone especially you. I don't think he cares if you trust him.  Yeah, you got an interesting perspective on things. Hi See what when I get up from this pussy the strength of the pride troopers Are you for health? Are you for you? All right, all right?  Oh, you got it Pussy we've done no damage to this guy. What do you mean? Stop right there. All right. He pulled bar you got it.  I mean what I'm gonna stop time. I'm tired of making fun of me and stuff Ah, just jump over it like I like you like you're My scroll, okay Yeah, yeah, he bro that did a whole Oh, they find by real.  No, no, I got a comment Yeah, oh Yeah I block he's on so I knew you're gonna Whooping you're not shocking anyone get him jern. You're stronger than him. Oh, that's a bad Oh, that's just not gonna happen.  I know he's gone right.


This is Paul Lucas, inviting you to stay tuned for the next half hour for one of radio's outstanding dramatic productions. Now, another proudly we hail, one of radio's outstanding dramatic half hours starring Paul Lucas, and presented transcribed coast to coast in cooperation with this station by your army and your Air Force. From Radio City, New York, here is your star on proudly we hail, the distinguished Broadway stage, screen and radio star Paul Lucas. Thank you, candidate. Our plays entitled The Key and The Cloak, the same somewhere behind the Iron Curtain, time today. Our story a tale of hunters and the hunted in the game of international interest. First act curtain will rise after this important message. I have an important message for intelligent young men. A new United States Army regulation now permits you to apply for OCS, Officer Candidate School, before you enlist. That's right.  You'll take basic training, attend leadership school, and then go to the next available class at OCS. You'll be promoted to corporal when you go to OCS, and upon graduation become a second lieutenant in the United States Army with good pay and allowances for food and quarters. Young American women have the same opportunity to become officers in the Women's Army Corps, but you better act now, for no one knows how long it will be before our growing Army has all the officers it needs. Go to your nearest United States Army and United States Air Force recruiting station and get all the facts today. And now with your star, Paul Lucas, in the role of Stefan Donner, your Army and your Air Force presents the proudly we hailed production, The Key and the Cloak. We could cross from east to west and back again with little trouble. One man who could was the composer Piana Stefan Donner. Donner's life was music and outside of that very little else matter. He made that point clear time and again. Only a handful knew better. Bring? Yes, sir. I'm going. It shouldn't take more than an hour. I wish you'd let me come along too, sir. No point in both of us walking into it. Well, what do I do if you're not back by midnight? Never mind midnight. If I'm not back in time for the concert tomorrow night, notify the police. You shouldn't have too much trouble in getting out. If I may say so, sir, I'd wait another day. You may say so if you like ring, but you know as well as I that it's got to be done now. If it's Vedecki, we owe it as much him. But what assurance have you that it is Vedecki? Only that the cart had no errors. If they had caught him and made him write it, it had made at least one minor mistake to warn me. Will you take the car? No, I'll walk. I've always felt for this sort of thing it's much safer to be on foot. Well, ring if anyone calls me, I've gone to bed. Don't throw it up for me. Please, be careful, sir. Always ring, always. The match is good luck. Thank you. You're welcome, sir. Fine night. The moon should be up later, about 1.30, I think. Yet these two are friends. Very important. I may have been followed, so go carefully. Thanks again. Good night. Good night, dear sir. Please open the door. Please, you must excuse me. I mean no harm. But who are you? What do you want? Get out of here or I'll scream. I don't mean to stay here. Just show me out the back way. The back way? There isn't any back way. That's the only entrance. The police? The street is beginning to swarm with them. They're looking for you? I try not to make a habit of breaking into people's homes. I came up the stairs and yours was the first door I came to. Would you mind turning out that light? What have you done? There, that's better now. How many stories in this building? Three more, I think. Thank you. I'll be on my way. Thanks for being so understanding. What will you do? Go across the roof. You can't. The buildings on either side have wide alleyways and they're taller. That's no good. What about the back? That's no good either, a factory wall. And the only way out is the way I came in. And right now I'm afraid that we'll have to wait too. Hadn't you better come away from the window? They can't see me with the light out. What are they doing? Searching the street now. What's at the end? It's a dead end. The river runs past. Oh, I seem to have picked the perfect place to get caught. Now all they have to do is search the buildings and they've got me. Well, I have no right to stay here and endanger you. You've already been extremely understanding. What will you do? If this building has a tower, I'll go down there and try to get out that way. Perhaps to the river. Why are they asking you? I haven't described this idea, madam. Also I have very little time, so let me say that I thank you for your hospitality from the bottom of my heart. And bid you a pleasant good evening.  Look, look there, they've got the street locked up. They know you're here somewhere. I'm afraid so, but I have no other alternative. Search all the houses. In fact, they've started down there. See? It won't be long before they come here. Perhaps, perhaps before they do, we can think of some place to hide you. Madam, you are very kind.  Don't worry, I can make them believe it. I'm an actress. And the very cool one may I end? Some day I'll show you my notices. My name is Karen. What's yours? Where? I think it's somewhere. Let's go on it, Carl. Well, Carl, I think we'd better start getting you tucked away. Why are you doing this? Because I want to. You are not afraid, are you? I think that's the first thing I noticed about you. You are not afraid. I said I was a good actress. What about this closet? It's big. There are a lot of clothes in the back. No, it's no good. Let's see. What is out there? Kitchenette. The back is there. Yes. You live here alone? There are two other girls. They're away on tour. Let's have a look in the bedroom. We'd better hurry. Hounds are banging. What's there? Another closet? Yes. What's under there? A steamer trunk. We just pile everything on it. I wonder if I could fit in it. It's worth a try. The other one died before we got back to it. It's a pity that food sergeants gave him a warning. We'd have had them both. How many buildings have you covered? Not three on each side, sir. Would you like to lead the search in the next one? Yes, captain. I think I would. A man should keep his hand in. Do something, Colonel. Captain Ansgar, your paper.  Here they are. Hello. No, there are two others. They're away. Who are they? Where are they? Didn't he frighten you, madam? He likes to frighten people. Frankly, he bores me. Who are you and what is all this about? I'm set, Vic, and we're looking for a man. Have you seen him? Of course. I've got him hidden in the icebox. Well, then, be careful how you talk. Captain, when in the presence of a beautiful woman, acts like a man, not a bull. Yes, sir.  And if you're through with my papers, I'd like them back. Thank you. A cool one. It's so rare that you meet one anymore. Well, now I am flattered. I hope your men aren't going to tear up the floorboards. I think it's necessary, madam. They'll do that, too. Sir, there's a punk in the closet in here. We can't get it open. Where are the keys, boys? I don't know. It's not mine. What are you looking for, anyway, a pygmy? Who's the punk, you see? It belongs to a girl named Lisa Rannick, and she's away. Drag it open. Now, wait a minute.   You think that you... Wonderful. Wonderful. Oh, Anchka, if you could see your face. My dear, you have something that there is a great lack of today. I believe the Americans call it punk. Please, there's little time to be waited. All right, Anchka. All right, it's your show. You mean you're going to let him ruin a perfectly good punk? A man could be hidden in it, you know, my dear.  What? Why would... Why should I want... Break it open.  No! Nothing but clothes, sir.   No trace anywhere, sir. All right, outside. Take the next one. All right, outside. Take the next one.  Madame, forgive us for inconveniencing you. I, for one, enjoyed meeting you. Did you ever feel in need of work? Here is my card. You are the type of person I can use in my organization.  Good night and good riddance. Can you climb in? Another ten seconds and I couldn't have held on any longer. I'm not very good at hanging from window legend. I heard Chuck. What happened? You were right. The trunk wasn't a very good idea. Help me up. If you have a drink, I could use it. That makes two of us. Now what? Now all we can do is wait and see what their next move is. They've got me in check, but it's not made yet. In the Proudly We Hail production, the key and the cloak will return in just a moment for the second act. Did you ever stop to wonder why your United States Army has such a long tradition of victory? Well, the secret is a very simple one. It's training that pays off. Old soldiers will tell you that it's good training plus the best leadership that spells victory. Your United States Army has always emphasized both. Visit the United States Army and the United States Air Force Recruiting Station in your neighborhood and learn all the facts. Enlist in the United States Army today. You are listening to Proudly We Hail. And now with your star, Paul Lucas, in the role of Stefan Donner, we present the second act of the key and the cloak. Had you searched the entire block? Nothing. No trace. I can't understand it, sir. I can, Ansgar. I can. I put you in charge of shattering one of their agents in order to catch two. I did it knowing the first agent was carrying valuable information. What happened? You make a mess of it right from the start. You kill this videcky and let the other fellow get cleaned away with the information. But don't interrupt. Perhaps tonight already, Ansgar. I trust you have sense enough to know you're in a spot. You insist your man went to Earth somewhere in this block. You've made a thorough search and you still insist he's here. All right. I'm not arguing with you. I'm going home to bed. Fortunately, I have no one to answer to about all this, but you do, Ansgar. You do. I can't tolerate inefficiency in my organization. You realize that, of course. It's now almost midnight. You have 24 hours to produce the man and the information. If you fail, it's you who better go to work. Good night. Good night, sir. Can you see what they are doing now? They are in some kind of a hollow. Do you think they'll search again? They are very persistent. If they still think I'm here, they'll take the block apart. They've already searched. There's nothing to stop them from being more thorough. They are apt to bring in searchlights and life of the whole place. They might bring in a couple of hundred more men and then take each building apart, break by break. You don't sound very optimistic. It's better to count on the words. It's better to never underestimate them. You know them, don't you? As long as they don't know me, I don't mind. Why don't I fix some coffee? You must be hungry. You're very kind and a very brave girl, Karen. I think I'd better leave now while things have cooled off a bit.  You're safe here as long as they don't come again. And if they do, we'll think of something. There's nothing I'd like better about them. If they should come suddenly, they might find two couples. Well, just use one. You think of everything, don't you? If I did, I'd be home in bed right now. I wish I could remember where I've seen you. Don't. It's better that you shouldn't remember. But why? Do you think I'd ever tell? No, Karen. You'd never tell. I'll get the coffee. Good. I'll keep an eye on things in the streets. What time is it? One after one. Why don't you go to bed? They don't seem to be doing much of anything down there. Just patrolling. No, if they should come again, you'll need help. If they come again, Karen, I... What's the matter? It looks like they are bringing trucks in. Searchlights. They brought in more men. They are going to search every building simultaneously. Quick, the window in the kitchen. No good. They'll have lights in the alley, too. That sounds like checkmate. No, no, the trunk. Get in the trunk. They're close of you. Now hurry. Oh, not again. Cancel it. The girl gets some sleep. Out of the way. You men, in there. What's this trunk doing here in the middle of the room? Just where your friends who were here before left it. And if you'll notice, you big ox, you'll see that it's been ruined. Those are bullet holes, and these are clothes. Yes. Shall I take them all out? Or would you rather like to shoot at them, too? Maybe they'll call out with their hands up if you do. Ah, woman. Get out of the way. Go to bed. Go to bed. How can anyone go to bed with bullies like you running around wild? Be still. Find anything. All right. Out. Out. Don't lock your door. We may want to come back and see you again. I certainly will lock it. Then we'll break it down and have you thrown in jail for interfering with police business. Who's going to put that trunk back in the closet? And the queen saved the game again. Ah, and limp.  I had begun to think my luck had run out. That it was all bad. Coming here to your door in this building in this block was the luckiest thing that ever happened to me. You'll make me blush, Carl. The longer I'm in this business the more I know it's people like you who keep people like me alive. I do not know if I had been in your place and you mine that I would have been so sympathetic. Ah, yes you would. So would most of us who have not had all the decency scared out of us. Whatever I can do to defeat them, I'll do gladly. For you or for anyone? You don't know how few there are like you. Ah, you're wrong, Carl. Perhaps it's hidden down deep under the surface with most. But it's there. A man or a woman with children or a man with a woman alone has more than himself to think about. You can understand that. Naturally. But you have saved my life twice this evening at risk of your own. And there is no way in which I can repay you or show my gratitude. In knowing that you fight them and that I've helped you to fight them is enough. Now let's stop this. Hadn't we better make plans for the next time? I don't think there would be a next time. This last search would convince them that I'm not here. Where do you work? I have a small part in the play. We're rehearsing now. Oh, you should have the lead. But in other words you'll go out in the morning and return in the evening. That's right, about six. Good. Now I want you to do something for me. Only this time there will be no risk. I'll give you a number to call. A man will answer. You will say a diversion should be created at the entrance of Solvac's place. At exactly seven o'clock. And if it is not created there may not be a performance. That's seven o'clock tomorrow night. Right. What would you do on the meantime? Stay right here until you come home. If that's all right. Of course. You'd better tell it to me again in the morning before I leave. I don't know whether my head is working right. I'll do that. And now please go to bed. I'll sit here and watch. Should they come again I'll go back in the front. I can't argue I'm half asleep now. But don't worry if they come again Carl. I wake up quick enough. Good morning Captain. Anything to report? Looks like you've been barking up the wrong tree and wasting a lot of valuable time too. What do you plan now? I see your stubbornness is admirable even if your logic isn't. What would I do Captain? Well now I really couldn't say that is your investigation not mine. All I expect are results. I won't take any more of your time. You don't have too much left. Goodbye Captain. Oh there you are. I'd rather you put that gun away. Oh I beg your pardon Karen I'm afraid I fell asleep and then I heard the door opening. How did it go? What's going on out there?  Everyone who goes in or out has to show a tape. And of course they search you. But from what I could see it looks like they've shifted their search to the adjoining blocks. I'm really surprised they still think I'm around here. I heard one of the guards talking. He said this whole area right down to the river had been alerted even before you came. You walked into a trap. Well I still seem to be held in. Did you get a did you call that number? Yes your friend seemed quite worried. He said that the performance must go on and a diversion would be created regardless of the circumstances. Now would you mind telling me what it all means?  How? I mean... I have a day to day 30. If I'm not there for it my goose has to be cooked whether they catch me here or not. My friend is going to draw the hounds away from the tent while I head for the river.  You are wonderful. And leave your top coat and hat. I'll take care of them. I wish there was time to know you better. I wish it was possible to... Oh no matter. Yes Carl. No matter. Well Karen this is goodbye. I go down to the first floor and wait by the back entrance. I'm glad you came here Carl. Good luck always. So thank you would be impossible. Tell me do you like music? Good music? Yes. Well I just noticed that I have a couple of tickets here to a concert tonight. Do you have a friend who would like to go with you? I think so who's giving the concert? That's Donna fellow. That's not Donna. Well yes yes I'd like to go. Oh it'll take my mind off of things. Goodbye Karen. God bless you. Take care of yourself. So you had me worried after this. What happened? Was the diversion a success? Success?  Where did you get hold of this thing? I made it sir. A bit of this and a bit of that. Noisy but perfectly armless. They gave me quite a chase. Me too right? Me too. You look slightly damp sir. It comes with swimming the river. Help me get out of these things. We mustn't keep our dreams wavy. You think so little of others make the music he does. Incredibly. Karen what's the matter? Why are you crying? Don't tell me the great Stefan Donna made you cry. Ah good evening madame. You remember me? I am Tetley. I came calling last night. Oh yes, yes I remember you. It's a pleasure to find you here. My estimation of you continues to rise. He's wonderful is he not? Miss Donna? What I wouldn't give to have a man like that working for me. Absolutely ruthless. Absolutely. I've said something funny. No, no, no. I just wondered what he might say if you asked him. Did you catch what you were chasing last night? I'm afraid not. And now I've got to catch... Unchka. What have they do? Think over what I asked you. Good night madame. Who was that? That my dear Mark was a policeman. A secret policeman. Would you mind telling me what's so terribly funny? Why he missed his calling. He should have been a comedian. Our next week's show in just a moment. Here's some great news for intelligent young men. Your growing United States Army needs qualified young officers and a brand new regulation says you can apply for OCS Officer Candidate School before you enlist. You must be at least 19 years old and able to pass the mental and physical exams for Army officers. A high school diploma is your best qualification. If you're accepted, you'll take 14 weeks of basic, then to leadership school for eight weeks and be sent directly to OCS. You'll be taught many interesting subjects and it'll be a great day when you line up for your commission. You'll be proud to be an officer in the United States Army with good pay and allowances for quarters and food. This is a great opportunity for young men and you should take advantage of it now. If you think you can make the grade, get all the details at your nearest United States Army and United States Air Force Recruiting Station. Enlist today. This has been another program on proudly we hail presented transcribed in cooperation with this station by the United States Army and the United States Air Force Recruiting Service. Proudly we hail Stars Paul Lucan. The key and the cloak was written by DeWitt Cup. The music was composed and conducted by John Guarnere. This program was produced out of the supervision of Charles and Roger's production and was directed by Charles Wilk. This is Kenneth Fangard speaking and here again is your host and star, Paul Lucan. We cordially invite you to join us next week over the same station for proudly we hail. Our plays and titles, The Last Frags. Until then, goodbye.