SORA’S POVThe city wakes wrong.It isn’t noise first. It’s texture. A drag in the air, like fabric pulled against the grain. I step out of the transit and feel it in my calves, a hesitation that doesn’t belong to me. On the wall opposite, someone has sprayed REMEMBER WITHOUT ASKING = THEFT in hurried red. Two meters down, a careful hand has added OR MERCY beneath it.People move like weather fronts… gathering, splitting, reforming. A woman clutches her phone and says to no one, “My morning went missing.” A man laughs too easily and tells his friend he feels great, actually great, like the world finally turned the volume down. His friend doesn’t laugh back.I take the long way through the square, hands open, pace unthreatening. “Breathe,” I tell a father whose child is crying so hard the sound shakes her whole body. “Name five things you can see.” He stares at me like I’ve asked him to translate smoke.“Blue,” he says finally. “Her jacket. The fountain. The pigeon. Your shoes.”“Good,

MITCHELL’S POVThe strategy room is quiet in the way museums are quiet… like the walls are listening.Mitchell stands at the glass table, palms braced, staring down at a map of pins and lines that no longer represent geography so much as influence. Blue for Authority-aligned regions. Amber for undecided. Red for places where trust has already cracked.“Read it again,” she says.The junior analyst swallows and projects the text onto the glass wall.Do you authorize the continued use of preservation safeguards designed to maintain psychological stability during periods of societal stress?Mitchell exhales through her nose.“There,” she says, stabbing the air with her finger. “That’s the knife.”The linguist, grey-haired and sharp-eyed, nods.“Preservation implies benevolence. Safeguards implies protection. Psychological stability frames dissent as danger.”“And ‘authorize’,” Mitchell adds. “As if consent is already assumed.”Someone mutters, “It’s a hug with a syringe hidden in the slee