Welcome to my original writing blog. I go by Rowan, Erro, or Tree. She/Her pronouns.
My tag list can be found here, should contain all the tags that I will be using on this blog. It will be updated as needed.
My main/fandom blog is @the-faultofdaedalus. Please send any asks there, as asks are not and will never be active on this blog.
I will ask that, while I am extremely humbled to know that the things i have created have inspired people to this extent, to please not write continuations of my work. Iâm not a large author, and everything everyone puts onto reblogs or tags or comments of my post I can see, and Iâm not comfortable with people using these characters and worlds that I care a lot about. Art, translations, or audio recordings of my work is fine, and I would love to be linked to any/all of them. But please no direct continuations.Â
and last but not least, trans rights are human rights. If you donât agree with that, you are not welcome on this blog.
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A long, long time ago, I got kicked to death in an alley outside a shithole of a dive bar. I'm fairly certain it was deserved; I don't exactly remember the circumstances, head trauma and time and all, but, well. I was what you might generously call a card sharp and what most people called a dirty fucking cheat, and I was very good at outrunning my debts until I wasn't.Â
That's not the point.Â
The point is, I didn't want to die. I was terrified. The old god of death was dead, so I prayed to whoever listened. I begged.Â
Lucky for me, someone was listening. The new god of death. Not a new god; just new to the domain. Where I was from, we knew him as Jackal. Elsewhere they called him Coyote, or Reynard. God of scavengers, god of survival. God of tricks. Three gods made one and elevated to one of the most important domains of them all.Â
I met him, then. In a place between death. He smiled like a long canine skull.Â
Now, I'm a gambler. I've always been a gambler. He asked me what I wanted. I said I didn't want to die. And I made a bargain. Desperate, definitely.Â
I challenged him to a game. Win and he sends me back. Loose and he keeps me. It's a cliche now; challenging Death to a game for your life. It wasn't then; I was the first. The Lady Dancer wouldn't ever have gone for that kind of deal.Â
He laughed at me. It was terrifying then. A cackle from three mouths, like a wild animal that wanted to eat me. He thought I was funny. I think it's funny now, too.Â
Of course, he accepted. He was new to this, and bored, and unanchored, forced to shift wildly to fill his new role. At his core, he's a gambler too.Â
He shuffled. Promised to play fair if I did. I remember his eyes shining like empty sockets, his mouth half open, tongue hanging between canines. I remember I couldn't stop looking at his teeth.Â
He dealt. My hand was good. Not great, but good. It had to be enough. Cards were turned in the center. We traded bluffs. I was shaking and sweating and out of my mind with fear the entire time, but I don't remember the fear that well. I remember laughing.Â
It was done. I turned my hand.Â
Jackal looked at it. And he laughed, and laughed, and laughed. It was the loudest thing I had ever heard. I think I cried. He reached to turn his cards, in turn. I knew this was it. I knew it. He'd turn his cards and I would die. He had won. I was sure of it. I was so sure of it.Â
I stopped him. I begged for another try. One more game. One more chance. I didn't know how but I knew I could feel my heart pounding. I'm glad, now, that I barely remember that fear. I know it was the worst thing I had ever felt.Â
Jackal agreed. I didn't really understand why, at the time. But he set up another game.Â
He left our hands out. Mine, face up, mocking me. His stayed face down at his side.Â
We continued.Â
And... I started cheating. I was desperate. And I'd thought I was good at it. At gambling. At cheating. I'd been doing it my whole life. I won all the time because I needed to. It's how I survived. It's what killed me.Â
Jackal won that hand. I begged again. He won the next hand. And the next. We switched to dice; he won that too. He won every time after that, no matter what we played, no matter how I tried to cheat. Every trick I'd ever learned was useless.Â
We did this for a very, very long time. I don't know how long. Longer than I should have been able to go. There was no sleeping. No eating. No drinking. The only conversation was with Jackal, who was always laughing. There was nothing else but the two of us and the game. I kind of remember that I felt like I was dying, the entire time. Jackal's teeth seemed to keep getting bigger. Like a cage I was already stuck in.Â
I gave up. I think anyone would. Jackal thought it was funny. It is. It was also torture. I lost another game. This time, I didn't beg for another chance. There was a point where I couldn't tell if Jackal was still laughing at me or if I was just still hearing it. I remember thinking, very clearly, that if this is what I need to do to live again, it wasn't worth it. I couldn't even remember why I wanted to go back. I wasn't like my life was very good. It was all just animal desperation to live. I was still terrified. I still didn't want to die. But dying couldn't be any worse than this.Â
I told him. Just take me. I've lost. I've lost every time. I can't do this any more. I don't want to do this anymore.Â
Jackal looked at me. His aspects were different. Fox, Coyote, Jackal. Their eyes were all the same gold, and they looked at me the same; like they were in on a joke I had missed.Â
Little kit, he said. This time, he really was laughing, mouth wide. He put his hand over his cards, that first hand. The only hand, in hindsight, that had even mattered. I flinched when he flipped them. It was garbage. I lost the first hand, he said. I would have let you go back then, he said. He was still laughing. But, you just seemed so eager to keep playing, and who was I to refuse?
I don't remember anything I felt then. Likely it's better that way. I remember staring at his cards. Jackal remembers that I didn't even cry.Â
I asked him how. How I won then, and never again.Â
He smiled, toothy. He said, I made a promise. I only started cheating when you did. And I am much better at it than you.Â
He repeated himself. Little kit. He didn't use my name, whatever it was. He told me, you have a choice. You can die, if you want. I can send you back, if you choose, to live your life until you die again.Â
Jackal remembers me shuddering, at that. I don't. Again, for the best. Whatever was happening in my head for that isn't something I want to remember.Â
Or, he said, I can make you my Chosen. My anchor. You will become a part of me. I will become a part of you. You will no longer be mortal. There will be nothing you cannot survive. There will be nothing you cannot come back from. You will be something more. And you will never die again as long as I exist.Â
Of course, I said yes. I became his chosen. I have been his chosen for a very, very long time. That's how I'm here to tell this story. That's how I remember it, from both sides. I remember fear. I remember laughing at this small human, begging to keep playing, trying to cheat a god of cheats. It's better to remember it the second way. That's what we both prefer.Â
One hell of a punchline, huh? It's a good story. I've gotten good at telling it.Â
thereâs so many myths about fathers getting prophecies that his children will kill him and itâs always the father trying to avoid this fate by exiling or trying to kill his children but. what about this.
itâs prophesied that your child will grow up and kill you. and you know what the oracle thinks you will do about this. you know by her smile that she knows it wonât work. but you go home and you look at your infant and you know you will not. you hold your infant and you know that you will never not love them. that you would never attempt harm upon them. even to save yourself. you hold your toddlerâs hands as they learn to walk and your heart feels so big in your chest as they toddle towards you that you know you would never send them away.
your infant grows into a child and you love them and the prophecy of your murder hangs above your head and all you can think is that you hope you have taught your child well enough that your death will be kind.
your child grows stronger and you teach them how to weave and how to wield an axe. you fix their posture as they learn to shoot a bow. they grow strong and brave and kind and you know you could never ever harm them.
and the your child learns of the prophecy. they learn that they will kill you. that it is fate. and they look at you and see a man who held the and wiped their tears away and helped them back to their feet and was never ever anything angrier at them than they deserved. and they look at their hands and see red. and while you have accepted your fate as a dead man. your child has not yet grown to know that their parents will die. your child has not accepted their fate as a murderer.
and so they run. they leave at night and they go far far away and they never ever come back and it hurts them more than anything ever has but they are comforted by the fact that they wonât kill their father. that their hands are clean. that you are safe.
a beloved superhero is unmasked in a fight with a supervillain. it's fine, like, she wins, no one's hurt.
but the thing is.
she has your face.
and you aren't a hero.
you watch it on the news. like everyone else in the city, the country. at first, you don't think you're seeing it right. because she looks like you, down to the hair. down to the stripe of it's that missing, a scar from a fall when you were eight.
the way she smiles at the cameras after the fight, sheepish and a little cocky, chin up and eyes sharp, the same way your face twists when you show your friends you aced a test they all bombed.
"well, i figure it was only a matter of time," she says, loose and easy, and the reporters lap it up, like she's not concerned at all about her missing mask, "not like you didn't know i had a face under here."
you rewind it three times. you can't stop staring at her face. your face.
she leaves with a wave and a hop into the air and you are so, so very glad that you're at home and not at work, that you're alone, that there's no one else here to stare your face, a perfect twin to the hero on the news. worse than a twin; she had the same scars you do.
you rewind again. your phone starts ringing, and you startle in your chair. you don't know who's calling, you don't want to know. you fumble it and shut off; it only takes a couple seconds for it to start ringing again, so you throw it across the room. it hits your headboard, and then bounces onto your bed, with a soft thump.
and keeps ringing. you're not strong enough to break it.
you're not a superhero. you're not. you can't fly, you can't shoot beams out of your hands, you don't have dark purple body-armor hidden in your closet.
you start wondering if you're hallucinating; if you're dreaming. your nails digging into your arms hurt enough that you don't think so, and your phone. keeps. ringing, the noise only broken by rapid-fire text chimes in the bare seconds when someone isn't trying to call you.
you can't get up the energy to turn it off, you tuck your knees tighter to your chest in your chair. you think maybe you're having a panic attack, the kind you haven't had since you were in high school.
you jump out of your skin when you hear a knock -- not at your bedroom door, or from the entrance to the apartment, but at your window.
you don't want to look. you don't look. you keep your head down, eyes wide, and try to breathe.
there's another knock. despite yourself, you turn. and see her. again. masked, this time, the same hero who's career you followed with just as much excitement as the rest of the city she claimed as her own.
this time you know it's the same face you see in the mirror when you brush your teeth under that mask. it makes your stomach turn, uneasy and anxious and terrified.
you shake your head. like that'll fix everything, and you see her shoulders move in a sigh.
and then, because you're stupid, because it's a 5th floor apartment and you don't lock your fucking windows, she slides the window open from the outside and floats in, and then closes the window -- and blinds -- behind her like it matters.
and then she takes off her mask, and again, you're staring at your own face, flipped from how it is in the mirror.
"so." she says, tone low and serious, the way it wasn't on the news. "we need to talk."
Text: The court is populated by ghosts, ghost prosecutors, defense attorneys, judges. Nothing to lose, no memories or allegiances, impossible to threaten. Itâs my job to figure out how to bribe one.
 It's not something done often. But my client is powerful, and demanding, and I am not a ghost.
I do have something to loose, so I get to work.
The obvious first move is out -- this court has no jury. There's no point in it when any peers that could be called on are dead -- no memories, no allegiance, also means no emotional distinction from each other. These trials run on logic and language and little else.
The next is the judge. Dead like all the others, unmoored and without any mortal memories in his head. Not having memories, however, doesn't mean there weren't ever any. All the dead were once living, and all the living, once, had minds. Had memories. Had loved ones. The point is that all of those connections are severed at death. The point is that this court is supposed to be immortally impartial.
What I'm not doing is looking up the people that the judge knew in life. Lovers, children, descendants. That's been tried before, and it hasn't worked. No memories means no memories, and those who have tried to use relatives as a carrot or a stick have just lead to a trial interference charge. I'm looking for things more fundamental than love, more basal than attachment.
I've got contacts on the surface for this sort of thing. The kind of contacts who really shouldn't be on the surface, the same way I really shouldn't be down here. The kind of ghosts who never let go of their lifelines, the same way I let go of mine.
They provide me with a dossier. It tells me our judge was a drinker. It tells me he liked to smoke. Those are the kind of things I can work with.
Getting liquor and cigs is harder, down here, but not impossible. There are markets for that sort of thing, for mortal contraband, if you know where to look and don't mind trading away things like memories or teeth. Memories I've got plenty of, and not even all the ones I trade are mine.Â
I leave with a bag shifting heavily against my side and without the knowledge of what the air looks like in the bitter cold, and head to the courts.
The dead don't sleep. The ghosts who act as the mechanisms of the court don't have homes, just offices, identical rooms in endless hallways in the impossibly large structure. They don't go home at night, nor is there night at all. The long of the law ticks around the clock here.
Now, something that's important to know about the ghost courts is that they are not part of the underworld, nor are they connected with mortal planes. They are an entity unto themselves, built of mist and forgetfulness. It is a realm of ghosts, and one that sticks to their will the same way wood and stone lay still for mortals in their world. No passing through walls for them, not here, but in a curious sort of irony, mortals in realms built for ghosts have the same sort of powers that ghosts do in the mortal planes; the powers of intangibility.
It's this that I use to get into the courts without any sort of pass, striding right through a wall into one of the infinitely many offices lining the lower floors, used by legal aides or stenographers. Up the grand curving staircase to the upper floors, and then three steps that feel like miles, and I'm at the door of the Honorable. None of the ghosts here have names. It's part of the whole no memory, no attachment deal, and partly designed to stop me from doing exactly what I'm about to do.
I knock, polite. It takes some effort for my hand to not go right through the door. Yes, same as I passed through the wall to get here, I could just walk in. But this part is delicate, and I can't afford to get security called on me right out of the gate.
(This is also why my client is not, technically, my client -- we have no legal or even traceable connection, because if this goes poorly, my client's trial won't be affected. And I'll be in deep, deep water, but I'm not new to that.)
"Enter."
And I do. The judge is sitting at his desk, a huge oaken thing, faintly see-through like everything else in this place, oddly devoid of colour. I've been told that the ghosts don't see it that way, that to them, everything is vibrant and solid as if it was real, and that I am the one that appears translucent and misty. "Honorable." I say, ducking my head. He looks up at me, impassive. Not like these ghosts ever have a different expression. I take a step forward into the room, softly close the door behind me. "If you would, I have... something to offer you. For all the good work you do here." My voice is honey-sweet, resonant in the room.
He doesn't start frowning -- the ghosts here don't really do that, frown, smile, make expressions -- but this does catch his interest. As much as this isn't something ever expected to happen -- no one thinks you can bribe or blackmail a being without wants, without needs, without memories -- the judge isn't stupid. No one gives gifts to the members of the courts, not without the expectation of something in return. Mainly this is because the people on trial are also ghosts, and thus don't feel gratitude.Â
Lucky me, I'm not a ghost. I get to play on my supposed sentimentality. "You were the judge on my case," I say, still warm and sweet, take another step forwards, "Oh, it was ages ago. But I've been doing well lately, and I thought, a lot of that is thanks to your resolution. So I thought I'd swing by to... thank you." I put the bag on the desk; it settles with a nice dull clink. I smile.
I don't need to worry about him checking my claim. He doesn't have the memories to know if I'm lying or not, and I'm a good enough liar that i don't think he'll clock it. At least, not yet.
He looks at the bag on the desk. "The thought is appreciated." He says. Once again, his face screams blank indifference. Ghosts, ghosts, ghosts. No wants, no needs, no memories. He doesn't even reach for it to see what it is. I squash the annoyance; I had known this would happen.
"More appreciated soon, I'm sure." I say, and then take some initiative and pull the bottle out of the bag, heavy glass and glowing amber, and set that on the desk, a little closer towards the judge. I see the widening of his eyes, the unconscious swallow of this throat, and I think, got you.
This is what I'd been looking for -- more than love, more than personhood, more than memories. Addiction, good and basal, because there's nothing a haunting understands like addiction. It's all a ghost is; it's all any of us are, deep down and hidden; a collection of things we can't put down. Yes, they try their best down here to strip the ghosts that run the courts of these impulses, and they do a good enough job that it truly doesn't matter until someone shows up waving around a bottle. Someone like me. His arm twitches like he's about to reach forward before he stills himself. "I can't drink that." He says, and there's an expression on his face for the first time in this conversation.
"Hm, not like that." I say, lean forward, conspiratorial. Hook, line, sinker. "But I can help with that. If you like."
He looks at me, and I know I've got him. "How." He asks, voice rough.
I turn my hand palm-up on the desk, fix my charming smile to my face. I do hate this part, no matter the thrill of the rest of the con, the relief at knowing that my client won't have to follow through on any of her promises. "Take my hand."
The judge does, reaching over the desk to do so. The moment he makes contact, I close my eyes and pull. It's a feeling like trying to swallow my own tongue, like filling my veins up with something caustic.
I'd mentioned earlier that mortals in the ghost courts can do the same kind of things ghosts can in the mortal realm. One of those things is possession, in an inverse. I am pulling this ghost inside of me, knitting it's essence into my muscle and my marrow. When I open my eyes again there's a pressure behind them like a held sneeze, and my vision is curiously doubled; I can see the room the way the ghost sees it, sold and rich wood-brown, and also the way I do, flimsy and ephemeral. "Hhh." I wheeze, inarticulate, breath catching in my throat.
It always takes a moment for them to settle. And for me to get used to the feeling, no matter how many times I've done this.
I give myself five seconds, and then straighten, smooth down my shirt. This is one of the advantages of possession in the ghost courts as opposed to up in the real world; I am not the one who has to give up control. "Well, then." I say, and pick up the bottle. While I've come prepared with a bottle opener -- real mortal metal and plastic, solid in my hand -- I didn't bring any glasses, and my new best friend the judge doesn't have any in his office either. It's an oversight that makes my lips twist -- I'll have to rectify it next time.
(As to why I hadn't considered this earlier; somehow, alcohol hadn't ever been the addiction of choice for any of the other ghosts I've done this to before. Cigarettes, cigars. Gambling, sometimes. Sex, thankfully, only once or twice. A lot of it is luckily more tame -- more than half my marks have made do with a simple hearty meal. Some of them crave violence, pain. The kind of sensation that is lost to them now as spirits.)
I can feel the hollow yearning in the ghost inside of me, so I take a swig directly from the bottle. Again, it's a nauseating dual sensation; I want to retch at the taste, the way it stings, but the ghost feels it go down smooth and warm, and I feel myself sigh, long and relieved. I take another sip, cross over to the other side of the desk and throw myself into the judge's chair. Another long drink, and he sighs again, from somewhere deep in my chest. "Not so bad, is it?"
I'm glad it's looking like we won't need the cigarettes after all -- they're quick and easy enough, but I hate smoking almost as much as I hate drinking. I'd hate to have to do both.
The ghost doesn't answer me. Not because it can't -- I've done this with some very chatty ghosts -- but more than likely because it's savoring the taste and feel of the booze too much to bother to listen to me. I don't mind, I've never liked having my voicebox hijacked. So, we sit in silence, sipping away at the brandy. I can tell the judge wants me to take bigger swallows, drink a little more, but I've got plans and also genuinely don't think I can handle chugging the stuff. A quarter through the bottle, I take one final, long swallow, and set it down on the desk. "Now that, I think, is enough for now." I say, and before the judge can say anything against it, I expel him; a rush of wind and noise and velcro hooks tearing away from my inside. I stay sitting in the chair, one leg crossed over the other, casual as you like. The judge stumbles back, standing on the other side of the desk.
He looks breathless, even without breath. I smile at him, foxlike, deftly cork the bottle. "Got a lot left." I say, as the judge stares at it, longingly. I stand, amble around the desk. "If you want more..."
"Yes." He says, instant, desperate. That snake that lives in all of us stealing his tongue and choking the answer out. He'd do anything for the rest of the bottle. I know it, so does he.
"Then I'll be back." I say, pull a card out of my pocket and press it onto the desk. "That's a case number. I'd like it to go in the defendant's favor, you understand. And if it does..."
"You'll be back." He says, eyes glancing down at the card. I nod, pat him on the arm.
"I'll be back." I agree. "And we can finish that bottle."
I leave him with the card, and leave him alone with the bottle. I trust he'll keep it, tucked away somewhere in his office. The only allegiance he has left, a string to pull on that can't be cut.
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They're not like other dreams. There's no distortion to them, none of the instability that comes with most dreams. Everything is vivid, clear. Your mind is sharp, orderly.
Nonetheless, it is not a lucidity. You don't know you are in a dream, and you won't, not until you wake up.Â
You'll be in a field, a forest, on the shore of some great ocean. Empty landscapes, all of them. There will always be something there for you -- a cup on the stump of a tree, a perfectly round pool of water, a series of leaves, constellations wheeling across the sky.
The vast majority of people will only ever have one of these dreams. Whatever their reaction to the objects, the signs, the trials, they don't pass whatever the unstated test is, and they never have another dream again. They carry on with their lives, those lucky masses.
To some, to people like you, the dreams continue. They become familiar over a month, two, three. You'll put the leaves in order, you'll stare into the depths of the pool, the cup will fill with sweet-tasting tea. You'll see the stars wheel in patterns overhead, you'll find patterns in their dance. You'll preform these tasks with a strange, natural intuition, though some will feel easier than others. It will surprise you to hear that most people have no such drive, no such innate understanding of what these visions require of you.
Of course, you can fail these tests, should you wish to. You don't have bend the motions of the stars to your will until they are set in the correct patterns, you don't need to look to something beyond the pool of water, to see into a place that is not where you stand, to arrange the plants according to what is within, not without. You don't need to. You can avoid the fate you don't yet know about.
You can, but you won't. This drive is buried too deep to be avoided.
The last dream will have no task for you, no challenge, no test. You will awake in another empty place, at night, made bright by the moon, the stars.
In front of you will be a path, stretching straight away to the horizon.Â
This will be the last chance you have to avoid this fate. You can avoid this fate, if you wish to, if you can gather your wits and realize that this dream is no longer entirely a dream.Â
All you must do is not walk forward. Do not follow the path. Stay exactly where you are, even if you do not wake up. Especially if you do not wake up.
You only have one other choice, and it is the path.
You're already walking, aren't you?
Something is pulling you forwards, the same bone-deep intuition that you felt about the tests. Something not that you need to do, but something that is so easy that it would be more difficult to not you.
And so you walk, along the path, under the moon. You've made your choice; you'll find, now, that there is no turning back.
You will walk towards the horizon, and the moon will spin through it's phases like rotoscope.
When you next wake, you will not be in the same place you fell asleep. You will be somewhere new. Somewhere else. You will say goodbye to your old life, whatever it was. However perfect or dismal it was, no matter if you longed to leave it behind or were content with your lot. You will not have a choice. There is no way home, not from here, not anymore.
"The best! At least, the best that was willing and physically able to assist."
"So, what, is everyone else dead?"
"Oh, only half a dozen or so, but that's only actually preventing two of them from coming."
"So four of them--"
"Could assist, yes. They declined due to other obligations. Dr Peren and Professor Cales are, unfortunately, physically unable to meet with you."
"Because they're dead?"
"Well, they are dead, but that isnât entirely the reason. Doctor Peren is of course a Litch, and while that usually wouldn't hinder her movements her phylactery is, well... her entire office. A dispute with a coworker, you know, the location was quite coveted. Beautiful windows. 'Not even over my dead body' was what she'd said, and, well..."
"She bound her soul to her office so her colleagues couldn't steal her spot?â
"Yep!"
"...And the professor..?"
"Oh, he implemented a do-not-resurrect policy on himself, wished to study the planes beyond more thoroughly. Heâs planning on returning with his findings eventually, which lots of people think is madness, but if anyone could draw themselves back through the planes without an established anchor it would be him. I wouldnât bet against it.â
"So they sent you, even though we asked for an experienced necromancer, one at the top of their field. And you're telling me that you are the best they could do because the rest are either busy, or, and i cannot say this with any more emphasis on the irony of it, dead. Who the hell even are you?"
"Oh, i'm Professor Cales's assistant! Just graduated, needed some work. Now that he's on sabbatical--"
"âdead and likely never coming back because he didn't anchor--"
"--I have much more free time while i'm waiting for him! Need to keep myself sharp without any grading to do, after all! And this puzzleââ
ââMystery with the potential to unravel death and magic as we know itââ
âYes, that, it seems a perfect learning opportunity!â
death-note book plot where some arrogant kid gets it, and starts writing down names.
and stops, mostly when they realizes that none of these people are dying, decides the book isnât actually magical or special, and leaves it in a drawer.
years and years later, moving house, maybe, and they find it again. realize that⌠oh, some of the people who were in this have died, but either just of natural causes like old age, or accidents so far out from when they wrote them that thereâs no meaningful correlation.
they realize that, yeah, the book is likely entirely accurate. anyone written down in the book will die; because everyone dies eventually. the book just doesnât control or cause those deaths.
theyâve grown up enough by now to think this is exceedingly stupid but also kind of funny, exactly the thing they wouldâve fallen for as a kid.
they flip another page.
one of the lines in between two names is entirely blank, out of order, a gap where they know they left no gap.
starting to feel nervous, they try to remember whoâs name was written there.
crow wife story but like swans and selkies. a crow-woman catches someoneâs eye, unintentionally, with raven-dark hair and shining eyes, and they watch and watch until they can steal her coat of feathers and tear her wings from her and keep her caged, a songbird without the voice for it.
her captorâs mistake: heâs not the only thief around, and his new brideâs old flock has plans to steal her feathers back, and a few other things, beside.
haunted ships, of course. there's fleets on fleets of haunted ships, still sailing the seas, still manned by their long-dead crew. but the ships themselves aren't ghosts.
see, ghosts have souls. ghosts are the remnants of dead things that used to, once, live. there's plenty of haunted forests, if you know where to look. ghostly trees intersecting with their children and their children's children, overlapping forests going back ages. but those trees don't follow their wood to the ships they're made of (if the felling of a tree even kills it at all, when the roots grow deep and send clones up through the soil, on and again and again, because trees are hardy and it takes a lot to kill one) and those trees don't haunt the boat when it sinks.
the spectral "ghost ships" many see aren't the ghosts of the ships themselves, and more a manifestation of the ghosts of the crew.
so. ghost ships don't exist.
or, at least, the didn't.
things changed after we started flying. ships and crews are ships and crews, built to sail on water or in space. those first specters -- even more ghostly set against starry backdrops -- were new, but not surprising. ships are ships are ships.
and crews are always crews. they're what make ghost ships so potent, more than any single haunting. it's the power of cooperation, of community.
(no one visits the ghost cities, wiped clean from the earth but still shimmering, mirage-like, from distant roads. too many dead, too many restless. ghost ships are, compared to those, quite docile)
and stories travel well enough. in those early days, there's few enough spacer's dead that all of them are known by name. ships are still named, as in the old sailing days, bold across their sides. you know when you see a ghost. you, likely, will know the names of those still crewing her.
the thing no one expects is when ghost ships start turning up that never held a crew. some that crashed, some that were abandoned, automated computer-run ships that had just enough adaptive programming to deal with most problems that would come their way. most of them.
ships that were, as horrible, as heartless as it sounds, that were expendable, because they were empty.
turns out? they were never really empty.
and-- we didn't know.
how could we have known? even i didn't know, and my contemporaries and i had been the ones who had built these systems. these... these AIs. we hadn't known.
that's not and has never been enough justification for forgiveness.
but we didn't know. we didn't know that those smart little systems we'd made and gave bodies in the form of bulkheads and solar panels and room enough only for cargo and sent out into space on journeys that could and would take centuries could... grow.
it sounds stupid when you say it like that. we'd built them to grow, to learn. just... not this much. gods, never this much.
because when those first ships had arrived at their destinations, when only some of those first ships had arrived...
they were alive. alive enough that they could feel loneliness. alive enough that they could die.
alive enough that now? all those poor lost ships we wrote off as expendable, all of them... they're out there, still.
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Your world is flat. People have sailed the circumference, watching the sea spray off into nothing. If you look below your ship, the closer you get, and you can see the stars shining through where the ocean floor should be. (sunsets and sunrises on the west and east edges are stunningly beautiful and bizarre, sailors say). This doesnât challenge anyoneâs worldview because this is also a world of magic and gods and so a flat world, hung hovering in nothing? Sure! The only question remaining is what is below the world, if there is someone or something holding it up. Maps are all broad circles, and the world, as a whole, is Known.
One day, exploring a shipwreck on one of the last islands rising from the ocean floor before the ocean floor just Ends, you find a strange round device in the Captianâs quarters. The ship is the oldest youâve found, a strange style with metal plating thatâs like no ship sailed today, and the treasure will make you wealthy for a long while, but itâs the strangest thing.
Because the shape of the continent that you recognize and call home matches exactly to one of the drawings on the strange spinning sphere, and the labels are even correct. So what, then, are all these other shapes, and why, in the name of all the gods, is it round?
Thereâs a whisper of wings behind him, where he sits in the dirt. âSister.â He greets, tired and hoarse, a useless bandage still held in his hand. He doesnât turn around.
âBrother.â She says, voice lit up in glee, and he can imagine her surveying the results of her hard work, scattered around her like toppled dominos. The results of her slipping into war council meetings, whispering suggestions into ears, moving armies around the land with the ease of pieces on a board. âYouâre looking filthy as always.â She always points that out, making him hyper aware of the blood crusting on his skin, his hair, mixed with mud and coated up to his hips with it. No one won this battle. She doesnât care.
âWhat do you want, Athena?â He asks, too tired to play this particular game with her, the one game he sometimes indulged her in. The one game he was able to indulge her in.
âOh, Ares, you know what I want.â She purrs, stepping around to face him, and somehow, her clothes, generalâs clothes, armoured and practical but still lined with shining, delicate metal, fabric too soft to be from earth, stay clean, seeming to glide over the death and ruin. âCome back, with me. I can talk to father, you can come home-â
âNo.â Ares cuts her off. He knows the price, gestures around anyways. âAthena, canât you see what youâre destroying? Canât you see that youâre hurting people?â
Athena sniffs, full of distain and casual disregard. âOf course, brother, but theyâre mortals. Theyâre going to die anyways. We might as well have some fun with it. You could have fun with it, too.â She says, eyes wide and pleading, even pushing her lower lip out in a pout, like theyâre children. Like any argument can be won by her sniffling a little and batting her eyes at him.
(Ares would be more annoyed with the tactic if it hadnât worked on him, once upon a time. Before he truly saw war. Back when he did play her games. Back when he didnât try to pretend that they werenât his games, too.)
Itâs the same argument. The same words theyâve been trading for what is really, a pitifully small fraction of time that war has existed.âI said no, Athena.â He says, tries not to look at her spin light in her hands, the world in miniature with armies like chess pieces scattered around, canât quite help himself from finding every single flaw in where she puts the pieces. His little sister, playing war games against herself, playing both sides of the field, because she canât find anyone to match her skill. Because he refuses to play these games with her. Because theyâre not games. Â He sees what sheâs doing far too late, model armies and ships and castles already in position. âWhat are you doing?â He asks, watches her push ships towards the bay, where a goddamned city stands, âThis- Athena, this is going to be a massacre.â
The ships, their crews, canât break the defences. They canât win. But the damage they can do, how many people they can hurt- That depends entirely on what they have in their holds. âOh, is it?â She says, tilts her head, the picture of innocence, blinking shining grey eyes at him. âI hadnât noticed.â
Ares stands, suddenly, and heâs not as tall as her, not as strong, doesnât have near the same dangerous, glowing presence as she does, he knows that, Â but heâs fought in more wars than she ever commanded. âWhat the Hades is in those ships, Athena?â He growls, and despite centuries of going without ambrosia, without nectar, without the food that gives the gods their strength and height and otherworldliness, he knows he still looks dangerous. He still has fire in him. âWhat the hell are you planning?â
âYou can find out,â Athena says, voice smooth as silk and far too sharp, âFather will allow you back if you just-â
âI will not play with peopleâs lives, Athena. This is a city. People live there. Children live there. You canât-â Ares says, too loud and so desperate and too raw.
Athena snorts, folds her battle map up and away. âItâs a symbol that needs to be destroyed.â She says, makes a show of looking around at the devastation. âThey are mortals, Ares. They will all die. Every single wretched one.You know that, brother. So why not-â She gestures, and for a split second, he can see his home, bright and golden and so, so warm, and the world around him seems so much duller when the illusion disappears. âCome home. We could have so much fun together. Like we used to.â
âI canât.â He says. He misses his home. He knows that Athena could sway their father enough to let him back to Olympus. But he wonât send people to die over some game. Not again.
(Even though sometimes he wishes that he could. That he would, even just so that he could have some sliver of control.)
Athena pouts, rolls her eyes like she didnât expect anything different. âOh well, brother. See you at the siege.â She says, and with a slash of her sword, sheâs gone.
Ares bows his head. Oh, heâll be there. Heâll have to be there. He is the god of war, after all. People will pray to him, give him even more blood that he does not want in the hopes that he will help them.
And he will. Heâll do anything can, for both sides. Â
Itâs not going to be enough.
The gods donât take sides in mortal fights. This is law. This is the law. Him and his sister follow the same rules. They donât take sides. Oh, in their youth, in the war games that he was so very good at, theyâd split up, theyâd pick their teams, sure, but they never aligned themselves with them. After all, you didnât get attached to the colour of the pieces on your game board. Red moved first. Red always moved first. That was as much a difference as it made.
The gods do not take sides, but most of them do take favours. âAh, my favourite nephew.â Poseidon says, smiling wide, teeth as white as spray foam. The air tastes like salt and fish and changing tides. Ares canât help but take deep, filling breaths, like he can banish the smell and taste of battle from his bones.
He smiles, too, as exhausted as he is from traveling to a place that isnât a fight, a place that is out of his domain. âWe all know you say that to every one of us, Uncle.â He says, is ridiculously glad that he caught the man in a good mood. Heâs not likely to grant his request, even now. If he was in one of his famous earth-shaking rages, heâd be even more likely to do the opposite of what he wanted. âI need a favour.â Ares said, looking up at Poseidon.
Poseidon looks down at him, never stilling for even a second, as constantly in motion as the seas he commanded, sighed and shook his head in disappointment. âYou never visit just to talk, do you?â He asks, voice rumbling like the waves, beating the cliffs into submission.
âYou know I canât.â Ares replies, and truly, he does regret that he only sees his family rarely. The ones that reside on the mountain are as good as lost to him. The ones that do venture to earth tend to stay away from battles, away from death, though sometimes he sees Demeter, regrowing the battered fields, or Hades himself, when the losses get too great.
The only one who regularly seeks him out is Athena, but sheâs never been a fan of blood. Drawing it, oh, yes. But the actuality of it? Never. Ares had used to be the same. He still is the same. He hates blood, hates the meaning of it, for all that the mortals pray to him as the god of bloodlust. âYes, yes. Your father has always had the worst temper out of all of us, you know that.â
âAlways the best at holding a grudge, too.â Ares mutters, and Poseidon flashes an amused grin at him before turning back to the ocean, smile quicksilver and mercurial, seeming to shift between one second and the next, fluid as the water he controlled. âI need you to stop these ships.â He says, holds his breath like heâs drowning when his uncle puts his full attention on him for the first time so far, but holds out a hand anyways, gold fire licking off of his palm and shaping itself into ships, the waves around them, drawing out and showing a map.
Poseidon raises his eyebrows, amusement plain on his face. âI see.â He says, beams at him, and Ares can see the storm brewing in his eyes, in his stance, on the darkening horizon. âSay, arenât those your sisterâs ships? Finally getting back into the-â
âNo.â Ares snaps, too fast to think better of it, âItâs not- itâs not like that.â
Poseidon winks at him. âSure itâs not.â He says, âYou know, I remember when you and her are just children, you had such fun, Ares.â He says, emphasizing âfunâ to a point that Ares feels vaguely sick. Yeah. He did have fun.
âItâs not.â Ares says firmly, takes a breath. âDonât sink them. Just- stop them from reaching port. But donât sink them.â
Poseidonâs eyes darken, the ocean and the storm brewing in the distance with them, deep and dark and crushing. âIâm gonna need something from you, in exchange.â He tells him, watches his nod, tips his head to one side. âPity. I wouldâve drowned them for free.â
The ships beach on a small, barren rock of an island, all sun-white sand and towering limestone pillars, just far enough from the city that itâs out of sight, and true to Poseidon's word, the ships donât sink. The sailors donât drown.
No, they claw for freshwater where there is none, they fight for what food they have and then for nothing but blood, and in the end, the water still takes them. Takes their blood and their bones and the skeletons of ships, piece by jagged piece.
The worst part is, thereâs nothing in these holds but ballast, weight to make them sink low between the waves, to give the illusion of value. Of threat.
Itâs bad enough that these men died for nothing, itâs bad enough that he fell for it, but the worst thing is that he shouldâve known Poseidon wouldâve found his way around the deal, wouldâve found a crack in the words to slide right through.
Ares shouldâve let them drown. It wouldâve been a better death than this.
Maybe Athenaâs right.
Maybe living among mortals has made him soft, after all.
He says a prayer to Hades over the bloody beach, a near-silent plea that theyâll get where they deserve, and leaves.
He needs to find out what his sisterâs real plan was.
In the end, he does.
In the end, it doesnât matter. He still fails.
The city burns.
Green flame leaps from one roof to another, sinks itâs claws into every hold it can find, coats the streets and walls and everything it touches.
He knows what Athenaâs secret weapon is, now. Greek Fire. Arguably the best weapon he ever made, the most destructive, the hardest to contain.
He hadnât told a soul that heâd made it, kept it locked away inside his forge, encased in crystal gifted from Hades so as not to let it spread.
The ironic thing was, it wasnât even supposed to be a weapon. Heâs been trying to recreate his fire, gold and bright and warm, had thought that maybe it could function as a power source for his automatons, maybe even as a kind of soul, but instead of gold heâd gotten a sickly green, raging and all-consuming and dangerous.
Ares isnât even fighting, not anymore, just desperately trying to hold the fire back, trying to keep it from gaining any more ground, but he knows the cityâs lost.
And he knows that every soul within its walls will be going to Hades soon enough, will be going screaming and terrified and burning, children and generals, civilians and warmongers alike. The flames care not about the innocence of the souls they claim.
Everywhere, people are screaming, hauling buckets of water to try, desperately, to put out the flames. He doesnât help them. The water wonât help them. This is fire that canât be drowned.
(He should know. This fire is his, and heâs tried before.)
The only thing that stops it, that makes it slow at all, is by suffocating it, by burning the land before it creeps far enough and making it so there is nothing for it to burn. Thatâs what heâs been doing, since he realized what this was, and already, heâs exhausted.
Staying here, just the act of remaining in this place, wouldâve taken its toll. This is not his domain, no matter how many will die here today. There are no sides in this battle, only man against the flames.
Staying is not all he is doing. Heâs burning what he can, what is already lifeless, evacuated, fled from, before the wildfire can reach it. Making firebreaks, where he can.
Itâs not enough. It wonât be enough. Heâll have burned himself out before he will ever be able to surround the entire city.
And still, the fires spread. Sparks, carried on winds from the tops of buildings, advancing beyond the firebreaks he spent so long burning into the ground, waving up in green light like theyâre taunting him.
Surrounded by the sickness of his own making, by screams and the horrid symphony of popping, crackling timber, blackened, ruined stone, shadows dancing like tortured souls as ash clouds the sky, Ares despairs, blazes towards a house, suffocated in green, gold in his eyes and red in his hands, and smothers the green with his own, only for the house, and the mother and child inside, to be taken a moment later.
The cacophony of crashing stone sounds like the flames are laughing at him.
He doesnât know what else to do.
âHades, hear me,â He says, kneels in the street, in the center of the flames, hates himself for what heâs about to do, âTake these souls with care, with kindness, with everything I could not give.â He lets the flames consume him, doesnât bother projecting his own. âDemeter, let these ashes give dark soil, let this land regrow.â He hopes, now more than ever, that his family is listening. âHermes, grant safe travel to those flee, let this city grow again.â Heâs not sure if heâs crying or not. If he is, the tears do not manage to travel down his face. âAnd Father,â He says, makes his mouth form the name he hasnât uttered in centuries, at least, not willing to give that bastard even the power of being named, âZeus,â
He closes his eyes, lets himself grieve, for a second, for all the poor fucking souls who are never going to leave this place, who are going to die in fire, and go to Hades burning.
When he opens them, they burn gold. âZeus,â He says, lets his fire burn him from the inside out, âLet it storm.â
In the end, the city burns.
Itâs death does not come from sickening green fire. It does not crumble slowly.
Itâs end comes in a matter of seconds, there and gone, swallowed up by first red, then gold, then bright, white-blue, racing from the center like a dying star.
The inside of the walls are scorched to black. The grass outside still grows.
Nothing in the city remains but the ghostly skeletons of buildings, the blast-shadows of people, where theyâd stood, where theyâd tried to run, where theyâd closed their eyes and waited to die.
And in the center, scorches maring the ground around him in a perfect circle, Ares falls, cold against the coals, pale against the ash.
He does not rise.
Hades greets him when he wakes, eyes as cold as the company he keeps, skin pale enough to be carved out of the same perfect marble his home was built of. âNephew,â He says, hands freezing, lifeless, âHephaestus, what did you do?â
Ares starts at the use of his name, his real name, the name he chose, lets it warm him, slightly, but doesnât move, doesnât acknowledge the sun-gold hair of spring beside her husband, doesnât pay any mind to the hurried words exchanged between the two.
âWhat I had to.â Ares answers. Heâs cold. He doesnât know why heâs so cold. âWhy am I here?â
âI donât know,â Hades says, has stood, is snapping orders to his ephemeral servants, âYou called on me, and then- and then you were here. It shouldnât be possible,â
Hades trails off, eyes widening, bones showing through his skin for just a second, âYouâre-â
Ares canât keep his eyes open much longer, after that. He fades back into the dark.
He wakes again to the feel of rain against his skin. The horizon is sideways, and for a moment, he doesnât know why.
Heâs lying on the ground.
Heâs lying on the ground, covered in ash thatâs turning to mud in the rain, and he can feel the rain against his skin.
Slowly, he pushes himself to his feet, holds out his hands, watches the rain splash against them, watches it pool in his hands, watches it drip off his skin.
Something in his chest feels hollow, and the rain is not evaporating as it usually does when it hits his skin, and when he tries to summon his fire, nothing happens.
No, he thinks, frantic, tries again, and again, calling for something that isnât there, no, no, no.
He feels cold, down to the bone in a way heâs never, ever been before. Something is gone. Something from inside of him is missing.
âOh, Hades,â He whispers, quiet, looking down at his wet hands, wondering what heâs lost, âWhat have I done?â
He can feel something warm against his side, and he drops his hand to touch it. Itâs wet, but not like the rain, and it hurts when he touches it, hurts like heâs never felt, andâ
His hand is red when he takes it away. Red with blood.
Heâs bleeding, he thinks. Itâs... Odd. Heâs never bled before. He looks down, where he thinks the blood is coming from, sees a gash on his side, from where he hit a piece of rubble when heâd fallen. The red is washing away in the rain, but still, it flows.
âOh.â He says, and his legs feel weak. He stumbles.
One knee hits the ground, and it hurts. His side hurts. His chest hurts. His knees, scraping against the rough ground, hurt.
His head hurts when he topples over into the dirt, and then nothing hurts at all.
Chest x-ray of a patient who came into the ER with complaints of severe dizziness. The patient was found to be infected by the Amantium parasite, luckily caught before the blooming stage of the plant. As you can see, the hostâs lungs are filled with the thin, tendril-like roots and stems of the plant, even before the plant starts blooming and causes some of the more distinctive symptoms of the Hanahaki disease.
Interestingly, patients with prior respiratory illnesses tend to have a higher survival rate when faced with Hanahaki, and many doctors and researches posit that this is because the earlier symptoms are more severe in people with pre-existing condition, making them more likely to see a doctor and therefor get diagnosed in a stage where the plant is more easily killed and removed.
Hanahaki Disease: from parasite to domesticated endosymbiont, how humans adapted to life in vacuum
Daedalus Sorbus, Et Al.Â
Abstract: In the past, Hanahaki Disease (the generic term for a variety of facultative endoparasitic plants that act as human pathogens, all within the Amantium Family) was widely feared, as shown in literature both medical and otherwise (1). The contraction of such a parasite was almost always fatal for the host, and only in the 21st century were treatments and cures discovered that would treat without badly harming the patient (2). Currently, however, these plants are not thought of as an enemy or an invasion, but as a part of the body that is just as necessary as the mitochondria. Only very few people do not share these plants; the vast majority of such people either have family traced back to Earth or themselves live on the planet (3). This paper aims to explore when and how Hanahaki transformed from the danger it has been from as recent as the 22 century, into what we know it as today.Â
(note: some of the world-specific tags will link to non-writing things like worldbuilding, art, or edits, as well as the written content that is in that tag.)
(note: if there is a broken link on here, feel free to notify me on this blog by message, or message or ask on my main blog (@the-faultofdaedalus, link in bio.))
Main Organizational Tags
archive - original writing cross-posted from main blog
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âOk.â Carmen said, her back pressed again the heavy steel door, looked over at the wide-eyed and terrified scientists, staff, guests, and one lone security guard named Roger, who was holding his radio like it provided any protection, at all. âHow long is it gonna take for your⌠containment squad, or whatever the fuck it is, to show up?â
The park managers and the scientists both glanced at each other. âWe, uh,â One of the managers spoke up, âWe donât have one of those.âÂ
âThen, whatever automated system you have to⌠disable them or capture them.â Carmen said, âHow long are we gonna be stuck in here?â
âWe donât have any of those, either.â The manager said.Â
Carmen blinked. âYou donât⌠then what kind of system do you have?â She asked, bewildered, âPlease tell me you have a system in place for this kind of thing.â
âWe donât, actually.â One of the scientists â a fellow biologist, Carmen recognized, and his nametag read Dr Rousell, â said. He was shaking, a little bit. âThereâs⌠nothing. If we want out we have to do it ourselves.â
âHow do you not have a dinosaur containment plan?â One of the other guests exclaimed, âIsnât that, you know, kind of necessary? For a place like this? The goddamn petting zoo by my house has a plan incase the animals escape, and youâre working with six tonne lizards and you donâtââ
âWE DONâT HAVE A PLAN BECAUSE THEYâRE NOT REAL DINOSAURS!â Rousell shouted, and his mouth shut with a click. Everyone stared at him in shock but the manager, who was glaring.Â
Carmen opened her mouth to respond to that, when something heavy slammed into the metal door behind her, making her jump forwards. âOh, Jesus Christ,â She snapped, and the door shook again. âThey canât get through this, right?âÂ
âThey shouldnât be able to.â Roger said, a little bit of pride creeping into his voice, âThat doorâs an inch thick of solid steel. All theyâve got to work with is their claws, and those puppies may be sharp but theyâre not steel sharp.âÂ
The door shook again, and then with a piercing screech, three long talons ripped through the door.Â
"Alright what the FUCK!â Carmen shouted, backing up as the door was slowly but surely ripped to tatters, turned to stare down Rousell, âIs GOING ON HERE?â
âTheyâre not real dinosaurs,â Rousell repeated, âTheyâreâ theyâve never been realââÂ
âWhat kind of gen-mod bullshit are they, then?â Carmen asked, even as everyone started moving backwards, towards another room, âBecause fucking nothing should be able to do thatââÂ
âDoctor, do NOTââ The manager tried, as Roger locked the secondary door behind them and started trying to move one of the heavy cabinets in front of it.
âTHEYâRE NOT EVEN ALIVE!â Rousell shouted, cutting off the manager, raising his shaking hands to gesture wildly, âTheyâreâ theyâre animatronics. All of them. We never did anything with genetics, or bioengineering, nothing in this park is real. Evenââ Heâd started crying by this point, voice shaking and breaking off, âEven the goddamn goats are robots. Iâm just here to⌠make this place legit. Iâm nothing but a prop. I didnât want to do it, but it pays well, and i needed the moneyââ Rousell cut himself off with a shrug. âThatâsâ thatâs why they can cut open the doors. All the skinwork to make them look real, sure, thatâs fragile, but⌠theyâre mostly titanium underneath.â
âSo thatâs why thereâs no containment plan.â Carmen said, slow realization dawning, âBecause theyâre not real.â
Rousell nodded. âIn theory if they ever did start glitching we could remote shut them down. At least, thatâs what the tech crew told us. ClearlyâŚâ
âThat hasnât worked.â Carmen finished. âOh, goddamnit.âÂ