There Is No Cabal


Laura is stumbling drunkenly across a world that's like the sterilised mirror underside of reality, the blue and black and silver-grey upside-down place seen in rain puddles. It's a place where nothing that happens is good; where some nightmare was uncorked and spread through the air, worming its way into people's tongues and eyeballs and alveoli, seeping into the surfaces until there was nothing but nightmare to see or eat or drink. The air is as cold as bone and seems to breeze through her instead of around her. The air has an unsettling texture, as if there are occasional invisible strands of cobweb stirred into it. There's an irritating electronic buzzing, like some combination of metal cutting devices operating intermittently half a street away. It hurts to think.

Laura blitters across the glass landscape. Nobody can remember the start of a dream. She is trudging through a black glass mountain valley with jagged glass boulders and glass shards crackling underfoot like frost. She wonders if there's a special word for a glass glacier.

The sky overhead features the familiar pale triple-pointed galaxy, the forked Milky Way, but today it disconcerts Laura for reasons that she cannot pull together in her head. It is simultaneously reassuring and alarming. Laura is asleep and not reasoning at maximum capacity. All she knows is that she wants to find shelter.

The mountain ranges on each side elongate and coalesce until the valley has become a ravine. The ravine changes direction crazily, filling space, adding to its length, so that even flicking from location to location at a wish it takes Laura hours to make measurable progress. From above, it starts to look like a white noise waveform. It must be tens of thousands of miles long. Its walls become almost vertical and totally unscalable.

The floor of the ravine sprouts tiny white daisy things, which look soft right up until Laura treads on one. They're extruded crystals, and they function like caltraps. From the ravine walls grow spider plants, whose leaves are long curved shards of broken wine bottle. Laura has to duck or turn sideways to edge past them without slashing herself open. It's at this point that she realises that the ravine is gradually narrowing, and then looks up to realise that it has begun to close up over her head. Her throat rasps. The electrobuzzing is becoming louder.

Laura has been here for a long time and is gradually coming to realise it.


The ravine becomes a tunnel. What little starlight there was fizzles out, leaving Laura picking her way through an increasingly jagged blind nightmare. She illuminates her path by creating a picture of light in her head. The picture is red. Laura doesn't perceive that there are other colours she could choose. She creates red light. It is almost worse. Now she can see some of the surroundings, but the green leaves in particular are black and too indistinct to focus on. The passage flicks from uniform deep black to a puddle of dim red surrounded by deep shadows. And the light source, for dream logic reasons, comes into being in front of one of her eyes, a LED-pure light aimed into it like an optometrist's scope. It's not quite blinding, but painful, forming a dull point in Laura's retina. She sees blood vessel patterns overlaying her vision.

It's miles further before the tunnel forks for the first time. Laura remembers her maze training - consisting entirely of her mother once telling her "always follow the left-hand side" - and goes left. The tunnel rises and falls and zags enough times for Laura to lose her bearings, before it forks again. Both forks are smaller than the parent tunnel. The plant life is petering out, but the walls are becoming blocky as they close in, as if made of thick slabs of sharp-edged glass, placed to catch her clothes. Laura goes left again.

Much later, at a 60-degree right turn, Laura spots a crack in the left wall. The unacceptable lighting conditions mean that it would have been very easy to miss it in passing. The crack is just wide enough to slide through sideways without being cut in more than a few places - definitely both elbows, and maybe a rib or two. It's dark and, looking right into it, Laura can't tell how far it goes beyond an immediate right-angled turn.

Follow the left-hand side. She must have walked past six of these side alleys without realising it.

She is lost.

The noise is driving her crazy. Considering retracing her steps, Laura turns suddenly, catching a shoulder on the wall and carving a wound all the way down to her elbow. She inhales to cry out but at that instant she sees, down the corridor, the thing which has been following her. The thing is three turns away, mostly obscured by outcroppings of rough glass, and it is wrong. It is a very young child's drawing of a man, with exaggerated features and nonsensical proportions, made flesh. It's the wrong shape, its face and teeth are wrong, its body is wrong. It's extremely dark and it's standing completely still, not looking in Laura's direction. It occupies the full width and height of the corridor. It is somehow larger than anything the corridor can strictly accommodate.

Laura holds her breath. As the thing turns and begins to glide along the corridor in her direction, Laura kills her light and tries to shuffle blindly into the side alley. It's difficult and fiddly and painful and she seems to get nowhere for a long time while the thing is moving closer. The thing is totally dark except for its illuminated eyeballs and if it makes any noise it cannot be heard over the machines. Laura forces her way around the corner and waits, eyes refusing to adjust, unable to hear anything but the mechanical grinding, and still dribbling blood from her hand, which is now soaked. Her heart might as well be buzzing.

After minutes of waiting, and very slowly, the thing puts its head around the corner. Its head is a fat balloon, a big black elongated comma. It turns to look at her with its eyeballs. It opens its mouth of teeth and tells her, I CAN SEE YOU.

It is at this point that Laura regains consciousness. Thought processes that were freewheeling wildly finally hit the road and find traction. Laura sees where she is and she sees what's happening. She realises that she is having an intensely unpleasant Tanako's World Episode. She realises, also, that she cannot wake up from it.

Is that worse or better?

"Get it together, Ferno," says the man behind her. Laura whips her head around, but does so too quickly and catches it on more glass. She flinches and ducks to clutch the new wound. This provides enough room for the other dreamer to raise a conventional sidearm and fire four conventional bullets over Laura's head and into the thing's face.

The thing tells them HAHEHAHEHEHEHE. It relaxes, rather than collapsing or dying in any convincing way. It is as if its internal supports have suddenly been withdrawn. It falls to the ground in a manner which strongly suggests that it could very easily be reactivated. Its eyes darken, but remain wide open.

Laura's heart rate levels off. She takes stock.

Not much of the man can be seen, because of the cramped environment. He is taller than Laura. He's covered head to toe in a light armour shell and carrying nothing but the gun, which he immediately dismisses. The shell is grey, and thin enough not to make navigating the tunnels impractical but evidently hard enough to withstand contact with the glass without sustaining much more than white scratches. No face is visible.

It's a really good choice of equipment. Laura immediately clothes herself in the same.

"You've gone off mission. Follow me," the man says. He starts moving down the alley. Laura follows him, gingerly at first and then with more confidence once she establishes that sharp glass protrusions can't penetrate the armour.

"Who are you?"

"Who do you think?" Kazuya Tanako turns his helmet transparent. He turns around so Laura can get a good look. "Ta-dah."

"Oh. We're back in T-world, why?"

"'Show, don't tell'," says Tanako. "The things I need to say to you could fill a book, but you'd have no choice but to take the whole thing as fiction. It's how you think. I needed to bring you in here to put your face in front of some evidence. You've found your way into something much bigger than you thought."

"This place is full of evil," Laura says. "Demons, and this noise we're having to shout over. Why wasn't this here before? You said you crossed a light-year of glass unharmed. T-world should fight you. But monsters were conspicuously absent from your story."

Tanako reaches what seems to be a dead end. He feels the tall, narrow pane of glass for a second, then summons his sidearm again and shoots through it. He steps out onto thin air, and helps Laura out too. It is a bottomless ravine with an invisibly thin glass layer supporting them. The near side of the ravine is a sheer wall of fractured glass, with the cracks from Tanako's bullet spreading across it. The far side is buttressed stone, mile-thick castle wall. Both walls go up too far for anything like a sky to be available overhead. Below them is an unholy red light and the noise of combine harvesters coming up to speed. Standing over the gap is painful, like hard radiation.

"You've got a problem with your short-term memory," Kazuya Tanako tells Laura, "so I guess we'll have to go through this whole thing again, Socratic style. Where are we?"

Laura thinks the wall ahead of them is the exterior of a deep layer of her memory palace, but that isn't the question. Tanako strides across clear glass air gap like it's just a basic pavement, unslinging a heavyweight Akira-style laser from hammerspace. He inscribes a luminous pink blob on the wall, then tears the shape out of the wall like paper, letting it whip away into the wind. A dark gap is left. Laura follows him forward, mildly concerned that Tanako broke into her palace with such ease. As they step through, the electromechanical noises tune out, muffled. It's like weight lifting off her thoughts.

Behind the paper-thin/mile-thick wall is her recurring dream-snapshot: Rachel Ferno, Atlantis, ET and full crew complement, all at the instant immediately before their simultaneous destruction.


Kazuya Tanako prompts her, "It's about two weeks since you woke me. The second time, I mean."

"We're in memory," Laura announces.

"We're in your memory palace right now," Tanako agrees.


"No?" Tanako already knows the answer, but is guiding Laura towards it.

"It's a system," Laura says. "You spoke about finding a listening post. An omega-oracle, a systematic recording of all mana expenditure across all of history. That's where we are, that's what this place is. It's that system's memory.

"This scene is formally allocated. And so are the other things I can't forget, like the eruption at Krallafjöll. And so is the incident where Alexander Watson destroyed Recursion's Big Brother or whatever you want to call it--"

"I don't want to call it anything," Tanako says hurriedly. "It stays anonymous."

"These are the events in history when huge amounts of mana were spent," Laura summarises. "These are stored here, separated by bare recording medium."

"Correct," says Tanako. "In Sanskrit these would be called the akashic records. Now, answer your own question. Why the demons now, but not then?"

Laura stares up, once again, at her mother and the orbiter. What she is really looking at is: a plan, at the instant of its fruition.

"Mum knew," Laura says. "She knew these records existed. All she had to do was get close enough to Atlantis, and spend a lifetime of magic doing it, and the whole thing would... go on record. Nobody is dead, as long as we remember them with sufficient fidelity to effect a full reconstruction."

"Answer your question," Tanako repeats. "Why demons now? And not then?"

"How much matter did you bring back for the anonymous recursion artifact to instantiate in full? A milligram? From a spell I wrote and cast in bed? If that's all it takes to trick the universe, I can bring a person back. I can almost taste it."

"I think you're falling asleep again, Ferno--"



"Your answer is Scooby-Doo. Someone built this."

They are being watched. Something is looking in at them from the ravine outside, a tumorous monkey-giant with infinitely long legs and misplaced shoulders. It is about a hundred metres tall. Only one eye and one nostril are visible through the hole. It smells like fried detergent. It grins like an exterminator, pokes two long hoselike fingers into the room, and sprays Tanako and Laura with a carpet of brown spiders.

Tanako brushes madly at his arms and head, even though his suit keeps him sealed off. He envisions insecticide, then thinks again and envisions arachnicide, if such a thing is real. It is now: his suit becomes slick with bug killer, as if he is showering in the stuff. Layers of spider shrivel up and slough off him. He wades towards Laura.

Laura has summoned a two-metre bo/engineering staff, probably intending to take on the Kong monster outside, but she can't even move it through the knee-height flood of spiders. She throws flame at them, but this is less effective. The brown fuzzy animals heat up like copper, turning red-hot while they start to chew through Laura's helmet. Laura can barely stand. "I want to wake up," she says, "or I want to go to sleep. Either is good!"

Above and behind them, the Atlantis tableau clicks forward one frame. Atlantis is rolling hard left, yawing right. Soichi Noguchi is still fighting its movement. Rachel Ferno is tossed into the orbiter's wake, no longer visible.

"We're doing something difficult but completely possible," Tanako tells her, still wading in her direction. He plays his laser over the face of the Kong monster, with no obvious effect. "You've got enough of the metaphor down to handle this, Ferno. I believe in you."

"Fuck the metaphor!"

"We're being pointed at," says Tanako. "This is the real event memory, the listening post just stores references. Follow the link back!"

"Back where?"

Click. Smoke. Fuel trail. The tiniest fragment of flame emerging from the ET shell.

"Back there!"

For the second time, Atlantis explodes.


The listening post:


"What?" Laura stumbles like she just stepped out of a roller coaster.

"I said, good thinking," Tanako says. "You used the environment. See down below?"

Laura almost falls onto the railing. Mapped out below is the Florida coast, picked out with lat/long lines, range boundaries and trajectory markers. One arc is Atlantis. Another, rising to meet it, is Rachel Ferno's. The map is suffused with Kanditz oracle colours. It is as familiar to Laura as her own face.

"We followed the shortcut," Laura says.

"Approximately, yes."

Laura is transfixed. She reaches out for the map, but her hand just obscures the view and messes with her depth perception, like a hologram.

She says, "Did you know there's a man whose job is to blow up the Space Shuttle?"

Tanako looks up. "...What? No. You never told me that."

"He's called the Range Safety Officer. The Shuttle launches east, across the Atlantic Ocean. If it stays on course, it never crosses land until the Portuguese coast, by which time it's at orbital velocity. But there are two lines," - she points - "one following Atlantic coast of the US and one through the Caribbean, east of Cuba. The areas behind these lines are inhabited. So, for those people's safety, there are explosive charges on the solid rocket boosters and on the external tank. And there's a man whose job is to push the button that sets them off."

"You mean, if the Shuttle goes off course?" Tanako asks. He blinks. "Doesn't that kill the astronauts?"

"Of course it kills the astronauts. How could it not?"

Tanako stares at her for a while, his head on one side.

"On STS-77 his name was Norman Lederer," Laura adds. "He didn't need to push the button, though. It blew up all by itself."

"...Why are we on this?"

"I don't know," says Laura. "I think it's something to do with destroying big pieces of hardware."

"Yes." This snaps Tanako back into the moment. He claps. "You're right. Now. Questions continue. Where are we?"

"We're inside the listening post. It's real after all."

"Indeed. And where is the listening post?"

"Inside T-world."

"And what is T-world?"

"Memory. The listening post's own internal data bank."

"And how is that possible?"

Laura says, "Because it's a system. It's like any computer system. It's magical software. This is the place in memory where it stores its own code. We're walking around in it now."


The room is as silent as a crypt, and empty apart from the two of them and the 1:1 scale model of the complete history of the whole Earth. "How long do we have until they catch up with us again?" Laura asks.

With practiced movements, Tanako rolls the world map east to the United Kingdom, and then forwards in time to the present day. He narrows the focus to a flare in the remote hills of darkest Gloucestershire. "Do you remember this?"


"It's the facility where we're both asleep right now, in reality. These pinpricks are mages. These two are you and me. Look closely, get the out of body experience. You see? You understand?"

Laura squints. She sees hospital beds and drips. The familiar figures of herself and Nick Laughon, wrapped in white blankets and Dehlavi lightning at the core of a D, with watchful medical mages at the relevant nodes. "I don't remember," she says. "What are we doing there? Who's helping us with the experiment?"

"You'll remember when we wake up again," says Tanako. "All I need to tell you, for right now, is that this is the live copy. Call it 'production'. This is our rip-cord. If something goes awry like it did for me the first time, then exfiltration is simple: cast your mind back to this image, and to this moment in the real world. Then step into the illusion and wake up, snap."

"That'll work?" Laura asks. "How do you know that'll work?"

"I've done it before," says Tanako, adjusting the query parameters for the 4D world map a second time.

"What? How many times? When?"

"You thought my research ended just because I was killed?"

Laura stares at Tanako, or rather, at his faceless grey helmet. She's starting to put the information together, when something goes krung in her head. It feels like an anvil has fallen directly onto her deductive reasoning. She winces. The sensory overload symptoms are starting to come back: ringing noise, strobing light.

"You okay?" Tanako asks, taking one arm.

"Ow," Laura explains.

"The broad term for these things is 'intrusion countermeasures'," Tanako tells her. "We can stay ahead of them, up to a point. This is the last part of the journey, okay? This is the part where you need to pay attention. Look at the map."

Atlantic coast again. "New York City," Laura says.

"The year is 1969. And here we go."


Laura's thoughts flip texture yet again. She doesn't stumble this time, despite the new heels.

1969's recording is a vast skyscraper penthouse. It is ultra-modern and completely without dust or imperfection; habitable concept art in white, black and gold. Vatican City expensive, Mount Olympus expensive. Someone has spent a billion dollars on the most total imaginable luxury, then another half-billion just to have the gaudiness trimmed back to something tasteful.

It feels weirdly real. It's a whole different mental impression from T-world. No abstraction, no metaphor. It's a physical place that she's walking through.

Again, Kazuya Tanako catches up with her. This time he's wearing a tuxedo.

"You look different," Laura says. Nick Laughon's body has indeed been edited slightly. He's bulkier, and broader across the shoulders. His features have become artfully handsomer. His ears have shrunk. His hair is carved with product, in a way which the real Nick would never find time for. Bow tie, silver cufflinks. He still looks underdressed. Laura feels they should be in royal robes, or perhaps haloed entirely in light.

"That's the deal," says Tanako. "These guys look ideal at all times. They always look perfect. They never age, they never get ill. You should check yourself out, by the way," he adds, pointing out a mirror.

"Who are they?"

"These guys are the guys who built the system. They built the listening post, and then when it turned out that sleeping mages were able to wander right into their secure database they flooded it with monsters to scare people away. They monitor all magic usage, everywhere. And they meter it out."

Laura wishes she hadn't looked. She is unobtainable. The dress alone is unobtainable. If she spent two hours on her hair every morning and replaced every dessert with a marathon run, she could look half that good.

"Follow me," Tanako says.

"Wait. What was that last thing you said?"

Tanako opens the double doors. Noise floods out.

Laura's impression is that the next room could have been the size of a football pitch, and has only chosen to be a little smaller as a concession to practicality. Two entire walls and the ceiling are solid glass. The panorama behind the glass is unmistakeably the city of New York. They must be on the hundredth floor. About a hundred men and about twenty women are inside, most of them having to shout over one another. All of them are perfect twenty-somethings. Perfect suits, perfect teeth. Wine is flowing. There is string music of no clear origin. The atmosphere is celebratory and infectious.

"We'll get away without being noticed for a little while," Tanako murmurs. "We slipped out for a private conversation, you get me? Stay in character."

"You've dived into this memory before?"

"A couple of times."

Tanako takes two glasses of cava and hands one to Laura: camouflage. She drinks. Tanako steers her gently towards the window, avoiding eye contact with the party.

"Where are we?" he asks for the final time.

"New York city," Laura says.

"No. Look."

The window comes right down and meets the carpet. Of course, nobody can see the body of the building they're in, not without leaning out, but it doesn't matter. There can be no building. The penthouse is half a block out into the East River. They are dozens of storeys up in thin air.

Laura fights the shock. It's too obvious a reaction. She tries to hypothesise how the structure could ever exist, but she, like the building itself, has nowhere to start from.

"This place is real, by the way," says Tanako. "In the present day as well as here in 1969. It's completely invisible in every conventional spectrum I could try. But I used a deep scanning oracle, on a collection of chi wavelengths they obviously thought nobody could ever find. I have photographs. It looks like a UFO."

"When were you in New York? Who are these people?"

"Listen to the speech," Tanako says.

Laura's next word is cut off by the tinging of a glass. She follows Tanako's gaze.

The man calling the party's attention looks-- well, immaculate, like everybody there. But Laura thinks he might be a shade older. Perhaps a little middle age, a little wrinkle and shadow. Perhaps indicating seniority.

His name is King.

"I don't want to waste too much time," he says. "So I'll use as few words as I can.

"Thank God that we got there first.

"Magic is our victory. We have proved it to be perfect. It'll stand forever. I don't want to call our accomplishment - your accomplishment - a miracle, because that would deny you the credit that you deserve. It was work. Nothing but work.

"The world needed to be protected from itself. The problem, always, is trust. If and only if you're in this room, you deserve to be trusted with that power. As for the world, they'll manage just fine with what we give them. And who knows what they'll build on top of it? I, for one, can't wait to see.

"So thank God. And thank you all. And: to the beginning."

Laura is about to drink, but Tanako nudges her again. "Watch this," he hisses.

A gap clears down the centre of the room, and a dining table appears. It snaps into existence, building itself in a tenth of a second. It is laid with fine china, silver cutlery, limitless wine and a hundred and twenty unique dishes of every conceivable aroma.

It is as if the table was being held in some higher reality, separated from this one by a thin silk cloth, and then the cloth was ripped out from under it.

Click goes the final tumbler in Laura's head.

King takes his seat at the head of the table, and the others follow suit, picking up their conversations again, not perturbed in the slightest at the flatly impossible thing that has just happened. Laura and Tanako hang back. "They can create and destroy matter," Tanako says. "Do you get it? It was so easy, you can't even be sure which one of them did it. Look at their wrists, that's where their immortality comes from. Listen to what they're saying, really listen."

"Something wrong, you two?" asks a diner, looking around at them.

Tanako looks meaningfully at Laura. Laura heard the question in Urdu. She understood it in English. Everybody in the room is speaking a different language. Even Tanako has lapsed back into his native Japanese. She didn't realise.

"Is this the dream?" she asks.

"No. All of this happened. It's the recording," Tanako says. "I have all the hard proof you could ask for, once you wake up. I can tell you who all of these people are."

Several heads have now turned in their direction. A man on the far side of the table stands up. He matches Tanako's description of Alexander Watson.

"Excuse us," Tanako announces, ushering Laura back outside.


Too much information. Laura paces away across the enormous lounge, trying to unthread the words of the speech and the evidence of her eyes.

"Conclusions?" Tanako asks.

"It's 1969," Laura says. "Everybody knows that that year number has to be wrong. There is zero evidence, zero, that anybody had magic before Suravaram Vidyasagar discovered it in '72. That's not to say that nobody found it before he did, just that there's no proof. If anybody did get there first, either they didn't write it down, or couldn't duplicate it, or... kept it a secret. But these people-- my God, based on what I just saw, and based on where we're standing right now - which is in thin air - they must have got there decades before anybody else. If not centuries."

Tanako shakes his head. "No. That was my first guess, but no."

"I just saw a council of wizards having dinner in the sky. I just saw how magic is supposed to work. How it works in lucid dreams. You just think of something and it happens. You don't even need to wave your hand. They must have limitless power. Absolutely limitless. They're the ones who built the recursion artifact?" She lowers her voice and mutters to herself. "'Magic is our victory.' No magic words. No gestures. No equipment."

"Call it deep magic. Call it wizardry, or māyā." Tanako's face is set. He stares at her across the room, willing her to come to his conclusion.

Laura says, "How many people could they feed? If they wanted to?"

"All of them."

"...Magic is the leak," Laura guesses. "The only part they couldn't hush up."

"Even that would be better than the truth," Tanako says.

Exa Watson kicks the double doors open, so hard that one of the doors breaks from its hinges and cartwheels into the room, leaving a trail of demolished furniture and decor.

Tanako shouts at Laura, "Eject!"

One pace over the threshold, Exa pulls a perfectly ordinary pistol out of his jacket and shoots Tanako in the heart. Tanako keels backwards, vanishing before he hits the ground. Exa turns the gun on Laura and fires again.


And where now?


Reality is a cramped metal stairwell, entirely devoid of light, running up and down for kilometres. It is the darkest and least interesting location. Laura arrives standing normally, but one of her feet is on a stair and the other is in thin air, so she falls into a hand rail.

She's back in the grey ceramic armour, all except for the helmet. It weighs much more here. The darkness is thick as pitch. She follows the hand rail and descends the stairs gingerly, testing each step. Her boots clang. She waits for Kazuya to find her, as he did before.

"Kazuya? ...Nick?"

Her voice echoes, and doesn't seem to stop echoing.

After eight steps she reaches a landing. In total darkness, she explores carefully with her hands. She discovers cold concrete wall, more hand rails, and a cooling human body, wrapped in a wet dinner jacket. She immediately drops to her knees.

"Dulaku surutai jiha, seven hundred en em."

In the red light of her right hand it is plain to see that Nick Laughon is dead.

She hears a soft clacking coming from above her. Smart, hard-soled dress shoes on metal stairs.

Alexander Watson appears at the next landing, moving swiftly, leading with his gun. He sees she's weaponless, and visibly drops out of firefight mode, keeping the gun trained precisely on her right eye as he descends a few more steps.

"I don't understand," Laura says to him. "Why does this part have to be real? Nothing else is real. Magic isn't real."

Exa fires. She falls.


Next: Protagonism

Discussion (42)

2013-09-06 22:11:32 by kabu:

Another excellent chapter. It's going to take a couple of re-reads to really wrap my head around everything.

2013-09-06 22:48:56 by Link:

... Hm. Grey ceramic armor? She's not out of the dream yet... (though I'm becoming increasingly uncertain which world is real and which is simulation/dream.) And for a group of near-omnipotents, they're pretty bad at information control. Though I suppose Ra could just be sufficiently powerful/skilled not to care...

2013-09-06 23:06:28 by qntm:

The last scene does indeed take place in reality. Except in as much as, you know, the whole thing is a fictional story.

2013-09-07 00:02:03 by scgtrp:

So Tanako is probably not entirely evil. Maybe. In any case, I'm sure they'll both get better soon enough. Also, is the parameter to `surutai jiha` an EM wavelength, (as I thought was suggested in the comments of one of the earlier stories but can't currently find)? Because 400nm is not a color I would describe as "red".

2013-09-07 00:24:15 by qntm:

Hmm, looks like I mistook nanometres for terahertz.

2013-09-07 12:28:52 by hpc:

I thought it was brightness, and red was hard-coded because it doesn't disrupt nightvision.

2013-09-07 17:53:08 by scgtrp:

She used the same spell in Thaumic City with a different wavelength to generate infrared.

2013-09-07 21:13:20 by Silhalnor:

She must be capable of adjusting the luminosity as well then. Let's break that spell down now that we have seen it used twice with a modification to it's arguments. "Dulaku surutai jiha, twenty you em!" "Dulaku surutai jiha, seven hundred en em." Dulaku, as we know, is her true name and is used as... an identifier of some sort. What would happen if you used not your true name but the true name of the mage standing next to you? Nothing? Why not? But if two mages have the same true name and one casts a spell... what was the effect again? 50% success rate? That implies that another person's mana is off limits which implies that one's true name is not the sole identifier in use. Laura, it seems, knows how to utilize the additional parameters. This allowed her to steal a large quantity of Hatt's stored (but previously unusable) mana supply. Moving on. I'm guessing "surutai jiha" is a function name of sorts. "Twenty" and "seven hundred" would be an argument adjusting the frequency. I wonder how you get magic to understand numeric words? Can you use numbers from arbitrary languages? Perhaps they are also functions that lead to a more universal definition? Perhaps this is related to why everyone in that room could understand one another despite not speaking one another's language. "you em" and "en em" I don't know about.... I suppose "em" could be a spell terminator. Maybe "you" casts the EM radiation in a single direction (or in a cone with a predefined angle) and "en" is unidirectional. I don't see any means to adjust the amplitude. Perhaps the amplitude, like the direction you point the EM radiation in, is determined by nonverbal signals.

2013-09-07 21:38:56 by Andrew:

Silhalnor: "you em" and "en em" are vocalizations of the abbreviations (um, really μm, and nm) for micrometres and nanometres.

2013-09-07 22:10:51 by jonas:


2013-09-07 22:12:03 by cukier:

U em are micrometers and en em are nanometers

2013-09-07 22:13:34 by MichaelSzegedy:

@cukier I'd say more "mu em" and "en em".

2013-09-07 22:22:14 by yew:

Perhaps I'm missing something - if it's really that easy to instantiate objects out of the records, shouldn't the Wheel group be much more worried about arbitrary mages having access? All of the dangerous magical artifacts that they've destroyed are still on record, yes? At least, 'abstract mage' was . . .

2013-09-07 23:21:06 by quintopia:


2013-09-07 23:40:11 by Omegatron:

No more aligning the text the other way? Also, I hope Nick('s mind) is alright after two weeks in T-world. Benj survived longer than that so Nick probably did too.

2013-09-07 23:49:31 by qntm:

Whoah, I completely forgot about the text-alignment thing! Nice save! Ugh, this is what happens when I stare at a thing for too long without publishing it, mind-bogglingly obvious things just flit straight past me, smirking. I will fix this.

2013-09-08 01:07:36 by Eldritch:

I have absolutely no idea where this is going. I'm pretty sure Laura isn't dead-for-real, though. She and Nick's body were wearing dream-clothes and in a stairwell - but when they were looking in on "reality" from the listening post, their real bodies were in some kind of facility in the middle of an experiment like the one Tanako was using originally. I think that despite the reality-aligned text, there's one more level of weirdness going on here. Congratulations on another riveting chapter, Sam.

2013-09-08 21:11:19 by Jymbob:

Nice. That'll do for now. Also missing word: "We're being pointed at," says Tanako. "This *is* the real event memory, the listening post just stores references. Follow the link back!"

2013-09-09 00:00:53 by naura:

Laura brings back the armor to reality this time. This is a security hole, is it not? Ra is a user-level view of a massive security hole in the (artificial) structure of magic/reality.

2013-09-09 12:34:15 by Jay:

Not sure why everyone's so interested in the armor. I mean, both she and Tanako have brought things out of the dream before (IIRC, Laura even dreamed a body to come back to). No, for me the fascinating thing is how *Exa* got out of the dream. If simulated-Exa can jump out of the simulation at will, how come there aren't a million of him running around? (And would the original Exa still be able to use that True Name?)

2013-09-11 02:32:03 by atomicthumbs:

Huh. So magic is a Harvard architecture, with the real world being the data and Tanakoi's world being the code?

2013-09-11 04:25:05 by Anon:

I think the Exa in the stairwell is the present/real Exa, who noticed what they were doing. The characters in a recording "die" when the playback ends.

2013-09-11 05:31:10 by Nick:

The theme of 'secret elite has magic and works to deny it to others and suppress powerful ancient Things' reminds me of _Cabin in the Woods_ or _Mage: the Ascension_. Sam, was your use of that theme inspired by any other fiction/reality?

2013-09-11 10:54:54 by Toph:

I don't think that's the best way to put it, atomicthumbs. T-world is the storage, not the code. What's interesting to me here is that the Cabal (are they the Wheel Group yet?) still use mana, as do the Abstracts. Whatever magic is, it wasn't built out of whole cloth by the Cabal. They probably stuck some restrictions on a system that already existed. And even that's not totally accurate, since Abstract Doctor was recognizably a technological artifact powered by normal rules of magic (even if it was applying them in impossibly advanced ways) rather than a magic lamp that grants wishes when you rub it. It existed before the Cabal won their "victory", yet it works within the rules that exist in 2013. So the Cabal probably didn't change the rules of magic, or at least not everywhere for everyone. How does their magic work, then? Is it exactly the same magic as Laura's using, but with a lot more mana and better technology behind it? You think "materialize a banquet table", and some computer somewhere works out the fine details of fitting it into the room, before casting the spell?

2013-09-13 02:51:00 by Yasha:

My guess is that Laura brought herself, Tanako, and Exa out of the dream into the real world, just like she did with herself, Natalie, and Benji at the volcano. But that time, her and Natalie's "real-life" bodies burned up in lava. This time, Laura's and Tanako's "real-life" bodies are still in the facility where they were asleep, and the dream bodies are the ones that die thanks to Exa.

2013-09-14 16:34:46 by Alan:

Here is my take: Ra was Rachel Ferno, or rather he inhabited her body and then created a signature event. He cant bring bodies out of T-world, but Laura can. So he needed Laura to come to T-world. He needs her to bring him bodies. Was Tanako lost before the shuttle explosion? I'll have to read back... Ra is fighting a bit of a continual battle with Exa, and Ra possessed the black guy with the weapon. Exa and The Wheel Group are trying to locate and destroy Ra, not realizing that he doesn't have his own body. Tanako is trying to take Exa out, and then the others. So Tanako took Laura to the Cabal meeting in T-world... to lure Exa there perhaps. Exa shows up, shoots them, which causes laura to wake up in reality(and disembodies Ra in T-world), and Exa then arrives at the signature of them waking in the real world, so as to kill them again, for good. But he doesn't realize that Laura can bring bodies across, so he'll think they are dead now. I think Laura will wake up again in the facility. Ra/Tanako is perhaps using the Akashic records to figure out where Exa comes and goes from, so he can lay an ambush.

2013-09-15 22:58:52 by Elenor:

So Laura has now learned a lot of things that the reader already knew (or strongly inferred) from prior episodes. This confirms things that were pretty clearly telegraphed, and it gives us a specific year that Wheel Stuff happened, but I don't think it shows us any new information. Does it? I mean, Laura and Nick get shot, but that's about the only thing that actually happens. Right?

2013-09-18 01:12:52 by wfn:

(Trivial comment -) > This confirms things that were pretty clearly telegraphed, and it gives us a specific year that Wheel Stuff happened Heh, the Unix epoch starts on the 1st of January, 1970. :)

2013-10-01 17:50:32 by Mike:

All this wonderful exposition, and it's amazing how much is still up in the air. I've gotten the feeling, on rereading this all again, that Rachel Ferno may have been a rogue Wheel Group member. She certainly appears to have known about the akashic records, and it seems like she was expecting to have her privileges revoked by the time she got to the shuttle. Laura thinks her bag of tricks was empty by that point, and that could easily be the underlying reason. If she is a Wheel Group member, the real question is whether she'll figure into the next chapter, and whether she could possibly recognize Laura. Also, I expect she thought that anyone who could save her could also save the crew, so it'll be interesting to see whether Laura tries to save the crew, whether she succeeds, and what Rachel will think when the dust settles. Laura's rambling in Daemons seems to indicate that Ra has access to superhuman quantities of mana, which has been borne out by the possessed Benj, if not by the possessed Nick. In any case, the word of Sam seems to imply that Benj and Nick's possessor/passenger is just the tip of the Ra iceberg. By all accounts, Tanako was the first person to die in Tanako's World, so this seems to imply that the entity now known as Ra somehow assumed Tanako's True Name and his memories. Not sure whether Tanako is a willing and/or autonomous agent of Ra, or if Ra is just wearing Tanako as an Edgar-suit, the way Oul wore Zhykov. It'd be interesting to know what research, if any, was carried out on geological mana before Tanako's stroke, and what name (if any) was aliased to that mana at the time. Most importantly, possessed Nick was apparently killed off-screen, as it were, so we haven't gotten to see if Exa recognized him as the guy who showed up during the retrieval of the unnamed recusion artifact. Finally, there's the transparent figure that appears to be helping Laura fight the possessed Benj. I'm sure this has something to do with how they transitioned from Tanako's World back to reality, but I'll be damned if I know what.

2013-10-02 17:44:10 by qntm:

I've removed the last paragraph of this chapter, which was originally a quip by Exa, "Gotta wake up some time." I like the chapter much better without it, although when the story continues the quip will reappear.

2014-07-05 21:13:13 by Greg D:

"Laura blitters across the glass landscape" "Blitters"?

2014-07-12 00:18:49 by bluediamond:

A "blitter", short for "_bl_ock b_it_ _t_ransf_er_", is a method for transferring images from one place in graphics memory to another (or the code that implements the method, or an actual transfer event). In the days before dedicated graphics controllers, the speed of a game would often be directly related to how efficient its blitter was. The most efficient blitters used computing modes of the processor in ways the manufacturer never dreamed of (for instance, one worked by pretending that the screen was temporary storage for an interruption handler).

2014-07-12 00:20:02 by bluediamond:

err...that's BL(OCK) (B)IT T(RANSF)ER

2014-07-14 04:02:06 by bluediamond:

Ra has immense computation capabilities. Why did Ra send Rachel into a recording/simulation where it was obvious that they'd be detected and attract Exa's attention? Why did Ra let his vessel get killed? Why did Ra set things up so that Laura would pull 1969-Exa back into reality? The only possible explanation is that Ra *intended* for all of this to happen.

2014-07-14 09:33:07 by qntm:

Well, you can't fight God unless he wants you to.

2014-07-15 16:43:38 by Chris Phoenix:

caltraps => caltrops

2014-07-17 14:03:17 by bluediamond:

sorry @Chris - caltraps is a valid variant spelling, and this particular spelling was chosen for a reason.

2014-07-24 18:55:59 by Resuna:

There Is No Cabal? Really?

2019-01-03 23:29:53 by tahrey:

The Cabal would like to take this moment to remind you that it Does Not Exist. Also, pretty certain that staircase, and some of its fright factor, are brought to you courtesy of the SCP Foundation. Incidentally, the procedure for moving a large amount of data, usually bitmap graphics but not necessarily so, is a "Blit", or sometimes "Bit-Blit" or "Bit-BLT". The derivations given for all of them are varied and unreliable (e.g. Bit-BLock Transfer). The procedure is universal, though: take a certain notionally-rectangular chunk of data out of one part of memory, which implies several discontinuous stripes of equal size and equal separation (if the entire memory space is laid out like a string) for anything narrower than a full "row" of bits / bytes / words / etc, and MOVe (that is, copy) it to another part of memory as fast as possible, maintaining its rectangular (width + offset) structure. Optionally perform some other functions upon said data at the same time, e.g. using a second rectangular block of the same dimensions but only 1-bit depth to act as an XOR mask determining whether or not you actually write anything to the destination or not (with a sufficiently complex pattern this may involve reading both the source, mask, AND destination before writing anything). The software routines, processor opcodes, and any dedicated custom hardware used for blitting may all be called Blitters (though the first two are more likely to also just be called Blit or BitBLT etc), and can incorporate either just the core function or various others besides. One of the key functions of the Amiga Copper is as a very simple blitter. The Atari Blitter that was developed in response to that, installed in the STe and some later STFMs and Mega STs and generally criminally undersupported and under-used has a much more comprehensive feature set, including halftoning and smudging (more correctly a very limited form of hardware RLE), and only suffers somewhat for performance because it can't make use of spare video-access cycles in the video blanking area like its Commodore cousin but instead always has to steal bus cycles from the CPU (though it generally speeds code up even so, as it can perform complex operations at between 2 and 4 times faster than the 68000, at least once you've invested the necessary cycles to set it up and then let it run long enough to recoup the difference).

2019-01-03 23:33:23 by tahrey:

* The point I was meaning to drive at in paragraph 3 is that I don't think I've ever heard of the procedure itself being called "Blitter", only the software, hardware or microcode dedicated to carrying out a Blit function. You can "blit" data around, and thus for geek charm points describe someone as "blitting" around a cyberspace type environment if they appear to teleport around at high speed, and they may even employ some kind of virtual MacGuffin called a "blitter" to do so - but they themselves do not "blitter" and they are not "blittering". You can run around, you can be running, and you can be a runner, but you cannot be runner around a track.

2019-01-03 23:33:48 by tahrey:

* cannot runner around ahem

2024-01-08 12:17:49 by Krs:

Just want it to be mentioned what an awful human being Laura is for just, during all of this, keeping her non-mage boyfriend in literal nightmare world!

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