Markov was supposed to wake up in the 1400s. Instead, he hit snooze—for about 600 years. Now, the once-feared medieval vampire finds himself in the millennial era, surrounded by things he doesn’t understand: electric lights, moving pictures, social media, and worst of all... high school.

With his castle long gone and his old world turned to dust, Markov is forced to enroll in school, make new friends, and keep his bloodthirsty instincts in check. As he struggles to blend in with modern teens and survive the horrors of group projects, Markov starts to wonder—maybe this strange new era has more to offer than he thought.

In this continuation of Jamie’s brother-hood saga, which revolves around a detective intern younger brother and a mafia grunt older brother; Jamie explores the role of archives as a tool simultaneously entity which records, witnesses, and yet can be complicit in the silence, erasure and manipulation of an entire existence. Crime itself — as many sociologists and anthropologists have studied over decades — is systemic, decided by few people in power and is an instrument to maintain that power. How many people have fallen into its machinations? In this sample of a future novella, Jamie dives into the complex lives of brothers who seem to be on opposing polarities, but actually are victims to the same corrupt moral order.

At first sight, Adena's story may appear like so many other romance-comedy tales. However, she's spun a love story through the perspective of an observer -- a friend gossiping with others -- that, while comedic and heartwarming, is also meaningful, layered with a relevant social issue in Jakarta: the unequal educational and career opportunities that exist between private and public school students. Through extensive first-hand research, she carefully brings the main characters' desires and dreams to light; their differences which become a valuable lesson about privilege and struggle, closing a chapter in their lives without each other.

Michelle creates a sensitive portrayal of human rights issue and child labour in her Term 1 Mover final project, “Red Light Tsubaki.” During class, she engaged in deep research and critical interrogations into colonial culture and its relation to the exploitation of children’s and women’s bodies. But most importantly, at the heart of this portrayal, the readers shall witness a sisterly bond that saves the soul of these two girls trapped in this systemic violence.