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FromA2Zine From A to Zine: Music, Hobbies & Every Subculture In-Between (Views, Reviews & Interviews)

Copilot says, ZV is...
05/05/2026

Copilot says, ZV is...

05/04/2026

Rend and Not Break, 's Monster from Songs EP: A Dark Tribute to by Zernain Villain

04/29/2026

Fangs Down, from Songs EP: A Dark Tribute to by Zernain Villain

Podcast 3: The Last Chapter of Carmelita C. Cruz (2019) by ZVhttps://open.spotify.com/episode/7GHhNnlJc22qChCGe2wvF3http...
04/16/2026

Podcast 3: The Last Chapter of Carmelita C. Cruz (2019) by ZV
https://open.spotify.com/episode/7GHhNnlJc22qChCGe2wvF3

https://zernainvillain.substack.com/p/the-last-chapter-of-carmelita-c-cruz
It began with an invitation written on ivory paper, sealed with a wax emblem of a hornless goat.
Mr. Elias Santiago,
I have read your books.
I would like you to write mine.
Meet me at 7 p.m., Penthouse, Capella Tower, Makati.
—C.C.C.
To anyone in Manila’s upper crust, the name Carmelita Cruz meant two things: wealth and reinvention. The CEO of Triple C Holdings, she had risen from an obscure Visayan background to become one of the most powerful figures in Makati’s corporate skyline. Yet no one knew how she’d done it. She guarded her past like a fortress.
So when Elias Santiago, a semi-successful biographer known for his exposés of high-society secrets, was personally summoned by her, he knew this was more than a book deal. It was an unwrapping.
The Meeting
The penthouse at Capella Tower was more art museum than home: black marble floors, humanoid sculptures from Benguet to France, and a panoramic view of the city that made even the Ayala Triangle seem small.
Carmelita was in her early 60s. Elegant and precise, her face was framed by silver-streaked hair. She offered Elias a glass of wine and spoke with measured charm.
“I’m ready to be known,” she said. “But only through your words. I’ll tell you everything—on the record—but you must promise never to stop, even if I disappear.”
He laughed, thinking it a metaphor. “Why would you disappear?”
Her smile was cryptic. “Some ghosts don’t like being remembered.”
The Sessions
For three weeks, Elias met her in the penthouse or sometimes in a private room at her favorite bistro in Legazpi Village. She spoke of growing up in Samar, fleeing a violent home, entering the world of politics as a mistress, and later building a real estate empire through cold ambition and “a few buried favors.”
She spoke of a man named Governor Mondragon, now dead, whose patronage helped her get her first contracts in Metro Manila. She hinted that his death might not have been natural.
She showed Elias letters—real, handwritten, yellowed with age. She even gave him a USB drive labeled Sigbin. “If anything happens,” she said, “it’s all in there.”
The Disappearance
On a stormy Thursday morning, Elias arrived for their scheduled interview—but the penthouse was empty. No staff. No Carmelita.
By that evening, the news had broken—“Missing Person: Carmelita C. Cruz.” Her driver said she never came down. CCTV footage from the lobby showed her stepping into the elevator at around 3 a.m., barefoot and wearing a silk robe. No footage ever showed her leaving.
Security claimed the elevator didn’t move.
Police suspected foul play, maybe a kidnapping. But there was no ransom. Her bank accounts remained untouched.
Elias gave the USB to the authorities but kept a copy. What he found stunned him.
The Secrets
The USB drive contained decades of files: offshore accounts, surveillance photos, signed confessions, and a spreadsheet titled “Contingencies.” It listed names—judges, generals, politicians—with notes like: “Kept quiet. Paid. Threat: Low” or “Turned. Watchlist.”
At the top of the list was Elias’ own name, added only a week earlier: “Santiago. Knows too much. Dangerous if emotional.”
He didn’t know whether to feel flattered or afraid.
In the weeks that followed, Carmelita’s lawyers claimed she had left the country voluntarily. But her passport was found in a safe. Her assets began to shift—sold, transferred, and donated to a mysterious foundation registered in Hawaii.
No body was found. No trace. Only rumors: that she had boarded a yacht from Manila Bay, that she was hiding in Sorsogon, or that her enemies had silenced her for good.
The Ending
One year later, Elias published The Last Chapter of Carmelita C. Cruz. It became a bestseller, a blend of memoir and mystery, fact and fiction. He ended it with a question:
“What does it mean to disappear? For some, it is an ending. For Carmelita, perhaps it was just the next reinvention.”
And on the dedication page was a single line:
“To the woman who told me everything—except how to let her go.”
—Zernain Villain

Just Google It. -ZV
04/16/2026

Just Google It. -ZV

Podcast 2: Lalaki sa Likuran ng Lente (2015) ni ZVhttps://open.spotify.com/episode/5P78p2bM5w5BFX8cCE28jDhttps://zernain...
04/13/2026

Podcast 2: Lalaki sa Likuran ng Lente (2015) ni ZV
https://open.spotify.com/episode/5P78p2bM5w5BFX8cCE28jD

https://zernainvillain.substack.com/p/lalaki-sa-likuran-ng-lente
Abala si Salome Cruz, isang freelance photographer at video editor, sa pagbuo ng slideshow para sa pag-iisang dibdib sa kanyang studio sa Pampanga. Ang magpapakasal ay anak ng prominenteng pamilya sa bayan ng San Fernando—ang mga Mondragon, may-ari ng ilang lumang bahay na bato’t negosyo sa palengke.
Habang binubusisi ni Sam ang daan-daang larawang ipinasa sa kanya—mula sa mga luma’t bagong album, scanned na black-and-white photos, hanggang sa mga digital shots mula sa engagement shoot—may isang kakaibang bagay na pumukaw sa kanyang pansin.
Sa isang litrato noong 1973, may mestisong lalaking tila naka-Barong Tagalog at sumbrerong salakot, nakatayo sa kampanaryo ng simbahan ng San Guillermo sa Bacolor. Isa pang larawan, kuha noong 1988 sa town plaza, nasa likod naman siya ng mga bisita—nakatingin direkta sa kamera, malamig ang titig, at bahagyang nakangiti.
Bawa’t dekadang may bagong kasal, bagong binyag o bagong libing ay naroon siya, nguni’t hindi tumatanda. Walang ipinagbago sa suot. Parehas ang tikas. Gayon pa rin ang maputlang balat. At mismong ekspresyon sa mukha.
Noong una’y inakala niyang multo lang sa imahe o aberya ng lente. Nguni’t nang i-Google ni Sam ang mga public events sa Pampanga—mula “flores de mayo’t santaruzan,” prusisyon ng mga santo, piyesta ng mga palaka, hanggang parada ng mga higanteng parol—ay nakita niya ito. Lagi sa gilid. Parati sa lilim. Pirmes nasa crowd. Minsan sa likod ng karosa o sasakyan.
Ang mas nakakakilabot: sa slideshow para sa kasal, kahi’t sa drone shot ng pre-nup, kuha sa himpapawid ng isang bukid, ay nandoon siya. Maliit sa larawan, pero klaro. Nakatayo sa gitna ng palayan—tila espantaho (scarecrow).
Jueves
Dahil sa kaba, dinala ni Sam kinabukasan ang ilang larawan sa retiradong historyador, si Maestra Fidela, isang biyudang profesora na nakatira sa tabi ng lumang simbahan.
Pagkakita pa lang ng g**o sa larawan ay namutla na ito.
“Si Don Matias Ibarra ’yan!” pasigaw na bulong niya. “Alipin ng panahon. Gobernadorcillo noong dekada 1800. May sumpa raw: di siya makakalayo sa probinsiya, di makakaalis sa mga okasyon. Sapagka’t noong nabubuhay pa, hilig niyang makisawsaw sa iba’t ibang pagdiriwang at pagluluksa ng iba. Hanggang siya’y naging bahagi na ng bawa’t alaala.”
“Pero, ma’am, pa’no siya napupunta sa mga litrato?” tanong ng dalagang litratista.
“Hindi siya hinahanap,” sagot ng maestra. “Pero kapag may malapit nang mawala, kapag may mahal na biglang lilisan... nagpaparamdam siya. Di para manakit, kundi para magpaalala—na ang bawa’t memorya ay may bantay.”
Sabado
Nang araw ng kasal, pinaandar ni Sam ang slideshow sa harap ng mga bisita. Sa huling bahagi, ang compilation ng old family photos. Sa huling litrato, kuha ng kasalukuyang magkasintahan sa harap ng ancestral house—sa likod nila: may anino, naka-Barong, nakatingin direkta sa kamera, malamig ang titig, at bahagyang nakangiti.
Walang nakapansin maliban kay Impong Victorina, lola ng groom, na biglang bumuhos ng iyak.
Lunes
Isang araw matapos ang insidente, pumanaw si Lola Victorina sa katahimikan ng gabi.
Sa pagkukuwento ng mga kapitbahay, may nakita raw silang lalaking naka-Barong sa may puno ng mangga sa bakuran ng matanda, ilang oras bago ito binawian ng buhay.
Ora Mismo
Hanggang ngayon, tuwing may kasal, binyag o libing sa Pampanga, binubulatlat ni Sam ang mga larawan. At kung minsan, hindi lang isa, kundi dalawa o tatlong ulit lumilitaw ang matandang lalaki sa iisang frame—parang gumagalaw sa pagitan ng mga segundo, humihinga sa likod ng mga memorya.
May mga nakaraan palang di basta nawawala. Salamisim. Ang iba, nananatili sa anino ng kasalukuyan. Nakamasid. Nakatingin.
—Zernain Villain

Podcast 1: The Lightning Scar of Bulusan (1993) by ZVhttps://open.spotify.com/episode/1QCE4FB62fa2AMfbyRykbahttps://zern...
04/12/2026

Podcast 1: The Lightning Scar of Bulusan (1993) by ZV
https://open.spotify.com/episode/1QCE4FB62fa2AMfbyRykba

https://zernainvillain.substack.com/p/the-lightning-scar-of-bulusan
In the shadow of Mount Bulusan, where the mist creeps low, and the air is thick with stories, a young man named Rolando lived a quiet life in the province of Sorsogon. He was known for being a hard worker—helping his father fish in the morning and tending their small coconut grove by afternoon. Life in Barangay San Rafael was simple, but it pulsed with ancient beliefs, whispered at dusk, and woven into lullabies.
One July evening, as the sky darkened with a sudden fury, Rolando was returning from the forest trails behind their nipa house, carrying bundles of rattan. Thunder rolled like an angry drumbeat across the heavens. He looked up just as a bolt of lightning, white and searing as the sun, struck him squarely in the back.
Rolando died—or so the villagers believed.
They found him lying beside a charred balete tree, clothes scorched, skin blistered. But when they brought him to the local health center, he awoke three hours later, dazed but alive. The barrio doctor could not explain it. There were no broken bones. No internal burns. Only one strange thing remained: an intricate pattern branded on the skin of his back, raised and red like a keloid scar.
At first, everyone believed it to be a grotesque birthmark—or maybe a trick of trauma. But Tata Toning, the oldest albularyo in the village, gasped when he saw it. He said it was no scar—it was a map.
He traced the lines with trembling fingers—mountains, rivers, a lake shaped like an eye. “This is Bulusan,” he whispered. “But older. From before the towns were named. Before the roads were carved. This is a map of the ancient land. And here—” he pointed to a jagged cross etched near the lake, “—is the Sigbin’s* grave.”
Rolando scoffed at first. Stories of mythical beasts and buried curses were just that—stories. But then the dreams began.
Each night, he saw a dark cave lined with obsidian stones. A low and gravelly voice called to him in a language older than Bicolano. He saw flickers of gold, bones coiled like serpents, and a light that seemed to pulse with a heartbeat. His back would burn in his sleep, the scar glowing faintly like embers.
Curiosity—or maybe something deeper—drove him into the forest one day. Guided by instinct and the searing pain in his back, he followed the ghostly geography etched into his skin. He hiked beyond known trails, into parts of Mt. Bulusan no one dared tread.
At the foot of a moss-covered ridge, he found it: the mouth of a cave shaped like a screaming face. The air grew colder inside, and the silence was absolute. Carvings covered the walls—beastmen, celestial symbols, and something that looked like a man being struck by lightning.
At the chamber’s center lay a massive stone slab, and atop it, a box bound in chains of iron and bone. When Rolando touched it, the scar on his back burned like fire—and the cave trembled.
Rolando never spoke of what happened next. Days later, he returned barefoot and pale, eyes shadowed with things he would not name. He no longer worked in the fields. Instead, he sat by the sea at dusk, staring at the volcano and listening. Some said he was cursed. Others said he had seen something sacred.
Every few weeks, when a storm rolled in from the Pacific, strange lights could be seen flickering above the forest. Thunder would echo even without lightning, and the elders would cross themselves, muttering, “The mountain remembers.”
*The Sigbin is said to resemble a hornless goat but walks backward with its head lowered between its hind legs. It is often described as nocturnal, moving in the shadows, and becoming invisible to humans. Some versions say it has long ears that can clap like hands, glowing red eyes, and gives off a terrible smell. It is also known to suck the blood of its victims through their shadows, making it a kind of vampiric entity.
—Zernain Villain

[A is for] Anton Szandor LaVey (1930–1997) was an American author, musician, and occultist who famously founded the Chur...
04/12/2026

[A is for] Anton Szandor LaVey (1930–1997) was an American author, musician, and occultist who famously founded the Church of Satan in 1966. Often referred to as "The Black Pope," he codified the philosophy of LaVeyan Satanism, a non-theistic religion that views Satan not as a literal being, but as a symbol of human nature, individualism, and indulgence.

Writer, The Satanic Bible (1969): His most influential work, which outlines the core tenets of his philosophy.

Atheistic Foundation: LaVeyan Satanism is essentially "edgy atheism," emphasizing rational self-interest, egoism, and vital existence over supernatural worship.

Magic: He divided "magic" into Greater Magic (ritualistic psychodrama for emotional release) and Lesser Magic (the use of psychology and "wile" to manipulate situations).

Musician: A skilled organist and keyboardist, he released several albums, including The Satanic Mass and Satan Takes a Holiday.

[M is for] Marwan Makhoul is a Palestinian poet, born in 1979 in the village of al-Buqei’a, Upper Galilee, to a Palestin...
04/10/2026

[M is for] Marwan Makhoul is a Palestinian poet, born in 1979 in the village of al-Buqei’a, Upper Galilee, to a Palestinian father and a Lebanese mother. He works in engineering as a managing director of a construction company. He has several published works in poetry, prose and drama, including the poetry collections: Hunter of Daffodils, Land of the Sad Passiflora, Verses the Poems Forgot with Me, Where Is My Mom, and A Letter from the Last Man. For his first play, This Isn’t Noah’s Ark, Makhoul won the best playwright award at The Acre Theatre Festival in 2009. His poetry is also award-winning and has appeared worldwide in Arabic publications. Several of his poems have been set to music. Selections from his poetry have been translated into English, Turkish, Italian, German, French, Hebrew, Irish, Serbian, Hindi, Polish, Dutch, Albanian, Macedonian, Portuguese, Amharic, Eastern Armenian, Bangla, Hindi, Telugu, Tamil, Malayalam, Marathi, Russian, and Urdu.

During the 2023 Gaza war, the following poem of his became a slogan raised by tens of millions of protestors and written on the walls of cities around the world: “in order for me to write poetry that isn’t / political, I must listen to the birds / and in order to hear the birds / the warplanes must be silent.” These lines became the world’s loudest call for an end to the targeting of civilians.

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