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Peeling off the broken breastplate of a stoic knight who only fights and never speaks, just to realize there’s nothing in there. Not metaphorically—the armor is literally empty. It doesn’t appear to affect him. If the armor stays mostly in the shape of a knight, he just gets back up to keep fighting. But with the chest plate off he just sits there, equally impervious to curiosity as I reach up into the cavity where his body might’ve gone. Stubbornly, no answers are found anywhere in there.
So I forge him a new breastplate and on the inside, because I know he has plenty of room, I put a little pocket. Not big enough to hold anything functional of course. Just a little extra piece to see what he’ll do with it.
He comes back next time with some grievous injury to his nothing, presumably from the massive shredded gash across his thigh plates. He sits and waits. I fix it for him. He is still nothing in there. I decide to add a drawing on the inside, of the type of beast I imagine could rend metal into scraps with a single blow. He puts it back on. He no longer moves as if he is injured.
Over time the interior of the knight becomes decorated with whatever odds and ends I could think to attach to the inside of a guy who’s got room to carry it. What really gets me is that he never removes any of it. Never requests a change. Not even when I installed a curtain rod for a small tapestry, or a bud vase to carry roses for his beloved, or an accordion folder for letters. He didn’t say a word for any of the many, many drawings of mythical beasts that now fight forever inside of his shell.
There are plenty of other forges. I’m not entirely sure why he keeps coming back here anyway. We’re pretty popular, but he could get his armor fixed a lot quicker (and with fewer ridiculous modifications) literally anywhere else. I asked him if I could get a look at his nothing again. He flipped up his visor and nodded his head so I could take a look. It was the same as it had been, filled with drawings and trinkets and weird little fixtures I’d put in there. I asked if he was annoyed by it, or liked it, or felt anything at all, but he literally only ever says nothing, so I’m not sure why I asked.
There’s not much room left in his nothing now. When he comes back for repairs I’ve had to fix my own foolish additions. Some of these pieces are intricate and irritating to repair, but I fix them anyway. It feels wrong to take any of it away from him now, even though I’ve been rudely encroaching on his nothingness to the point where it’s barely even there. How he squeezes his nothing back into a body so full, I’ll never understand. But it’s a game to me now, finding a spot not yet filled and putting something there. A dark part of me wonders if he ever gets filled up completely, if whatever sorcery holds the nothing-knight together may break, and it will all clatter unceremoniously to the floor.
When he hands me his breastplate yet again, it is so shockingly disfigured that I wonder if being made of nothing has somehow kept him alive. No ordinary knight could sustain such injuries. So I fix it. And he waits, unmoving, in a quiet corner of the forge. It’s like he’s watching, even though I know the reading glasses I put inside his helmet were just for fun. I’m careful to put it all back exactly the way it was when he last left. There’s no room to add more this time.
He examines the breastplate, and pauses before putting it back on, like he’s looking for something. Is he worried about the fit? But it suits him just as it always did. He calmly points to a little space, about an inch, between a miniature shelf and one of many pockets. There’s nothing there. I ask him what’s wrong, and again he points. It’s the most emotion I’ve ever seen from him, and it’s barely anything at all. I take it to mean he wants something there.
I spend some time engraving a little snail in the gap. He watches, as much as nothing can watch. When I’m finished he holds the breastplate, but he doesn’t put it on right away. I ask him if something’s still wrong. He says nothing, and puts it on. I tell him I can’t add anything else. Even if he could ask, there’s no room left.
Next time he comes back, there’s nothing wrong with his armor—he lets me check to make sure. I ask him what he’s doing here. Out from one of many pockets, he retrieves a tiny rusted knife. It’s in miserable condition, barely worth saving. I tell him I could make him a nice new one, but I’ll fix it if he likes. He puts it away and reaches around to find something else, a needle and thread. Better condition, but I’m not a sewist and I tell him as much. He puts them away. He then retrieves a little twisted piece of wax paper. I open it. It’s candy. I ask if I can eat it. He says nothing. I eat it. It’s flavored with cinnamon. I’m surprised he let me take it.
He keeps bringing me candy now. His armor is the most laborious to repair out of every client my forge serves, but it’s my own fault so I can’t complain. Sometimes he keeps me company while I work. I wonder if he is trying to tell me something when he hands me mints. I wonder again at the lemon lozenges. He stares at me when I eat, as much as nothing can stare.
One day he brings me a little jar of honey. I thank him, I tell him I’ll save it for dinner. He watches me work, he puts his repaired armor back on, and he stays. My shift passes slowly, and when I finally pack up to leave it’s dark outside. He follows me out of the forge. I ask him where he’s going. He points to the jar in my hand. I ask him if he wants to watch me eat it. He says nothing, but the nothing-knight clearly wants something, so I open the lid and dunk my finger in the honey. I try not to get any on my chin. He stands there, inches away, watching me try to consume this jar of honey without a utensil. It tastes like clovers. About half the jar is left when I’ve finally had enough of pretending to be a bear, but he doesn’t move to leave.
I ask if he’s going to follow me home. He says nothing. I tell him he can if he wants to. Again, nothing. I start walking, and he follows at my side. I know he’s not going to say anything ever, so I fill the silence. I tell him I’m grateful for the sweets, I tell him about how his various components are made, I tell him I’ve never met anyone made of nothing before. I tell him it’s a rare opportunity for a smith to work so much on the inside of something. He says nothing. I tell him again how much I like the candy.
It occurs to me that maybe filling me with sugar is as close as he can get to filling someone else’s empty armor with trinkets. I’m not sure if that’s really why he does it. I tell him I don’t have room to be filled with anything on the inside, not like him. I’m not a container for much besides food. He offers me another piece of candy. Maybe he likes containing something, the way I like to feel full. Maybe it’s nothing at all.
—
I didn’t edit this even a little bit. Thanks for reading!
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Can't stop thinking about the fact that Grace is a Star Trek nerd. 100% no doubt in my mind. Which means he would Absolutely introduce Rocky to Star Trek. Rocky, the genius alien engineer, who can do pretty much anything he sets his mind to. So he gets really into Star Trek and specifically the theoretical science of the Warp Drive. He starts workshopping it on the way to Erid, but it's not entirely his area of expertise. When they finally make it back and all the important shit like seeding Threeworld with the Taumeoba and making sure Grace doesn't die of malnutrition are out of the way he proposes his ideas and soon enough Erid figures out to to travel at warp. From there I think they'd go out searching for other planets affected by the astrophage, making so many friends along the way that they basically create the United Federation of Planets entirely by accident.
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The obsessions have been speaking to me and I'm trying to embrace them. There is no character I've drawn more than Logan. I've been a fan since I was 13 and he's been similar to a recession-indicator obsession for me lowkey. Please fart with me as I make my first public contribution to the sasi fandom (I'm so scared rn).
This is how it goes: God whispers in Cain’s jealous ear, drawing his attention to the Sin crouched at his doorway. Sin has haunted eyes and a mouth that has been kissed. Let there be no doubt that Sin has been kissed, with a wet-red mouth that may taste of blood or pomegranate or the electric crackle of a stoplight. Cain looks at Sin. He runs his tongue over his teeth.
This is how it goes: Cain leaves the house at one am in bare feet and a hoodie, careful to avoid the last stair that creaks, and treks out into the Field. There are many fields in the world but there is only one Field. Cain feels the difference in the grass when he crosses the border from field to Field, the way the grey-green blades stand up at attention in his wake, the way the dirt turns ice-cold and furious beneath his heels. The earth is good with foreshadowing. The tree of Knowledge has deep roots.
This is how it goes: God says, I will take you or your brother.
God says, You get to choose.
And Cain says, “When you split me and my brother in the womb, you did not divide us evenly. He got kindness, and I got longing. He got complacence, and I got ambition. I want to kill him sometimes. I think sometimes he wants to die.”
I have never made brothers before, God explains. That is how I thought they were made. What more do you want?
“I want to steal some of his kindness,” Cain says, and shakes his pocket knife out of his sleeve.
Back at home, Abel sits up in his bed with a start, heart racing. That was close, he thinks, that was a damn close one, and does not know why.
In the Field, the ground warms as blood seeps into the dirt.
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really humiliating trying to write horror like they went into the creepy house and there was a creepy ghost and the creepy guy with a creepy knife and everything was very creepy are you scared yet and thats like literally not how suspense and tension actually work but like all u can do is say well maybe something else was creepy?