This fourth issue was started to bury from this world the overlapping bad experiences that happened to me from 2018 to 2020. What I thought about many times in that place was how to go back to the past and parallel worlds. It is composed of a very personal autobiography written in indecipherable characters, and considers the many branching points that exist in parallel worlds with the works of various artists. It is a message to me from a parallel world, a fragment of a memory like a slideshow, and various events and thoughts that have happened to me are projected.
 Until the third issue, I believed that I could create that mood by placing myself on the dark side. I woke up from that illusion and realized that it was just one element of me, not my true nature.
 The various stories that exist in my own narrative are superimposed on the stories of others, and are expressed on a series of time axes, from evening to deepening night and dawn. It starts with a work that captures the atmosphere of "that place" where I used to live, photographed by Yusuke Yamatani and edited by YOSHIROTTEN, and leads to a 20,000-word record of my life, contributed by editor Yuichi Abiko. I also produced a fashion story titled "REAL WORLD INTERFACE" from a pure perspective with Tomo Ono, Kunio Mitsusaki, and YUKA HIRAC. This shoot, which harmonizes chaos, was very important to me. In addition, my collaboration with Mari Katayama, who I met at the end of my teens and who has always been an emotional presence for me, is a photographic record of the two of us using analog drum machines and synthesizers, syncing them with MIDI, and jamming together. The work with RYU IKA from Mongolia was titled "POETIC TERRORISM," a reference to TAZ, the origin of the concept of free rave, and was about the eyes that create gazes and glances. Yoko Kusano photographed KIDILL's Spring/Summer 2023 collection, which realized a time-transcending collaboration with Henry Darger, in a field of blooming kochia, expressing a worldview of madness that is inextricably linked to utopia. The works of many other artists provided create another story in a parallel line, like Abiko's personal story. All of the language that makes up these stories is replaced with a fictional language created by Ohiana, and the work closes with my own afterword.
 The only thing that can negate the alternate future created by the branching point of parallel worlds is the existence of reality. Only the reality that exists at the branching point of this past and future can negate the parallel world that you so desperately want to return to.
 - Tatsuya Shimada