The Seventh Stage: Rocking the Boat (Part IV)

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Clavia is taking a break to meditate. It’s not just for her mental health in the abstract sense. In her case, it’s non-negotiable. She has to do it or parts of her will overwhelm the others; usually the not-so-great part. One of her constituent personalities was told a story once. It’s not so much a story as a brief metaphorical anecdote. Well, it can be boiled down to that anyway. The gist of it is that everyone supposedly has two wolves inside of them. One of them is good, and the other is evil. The one who wins is the one you feed. It’s not so simple with Clavia, though. She actually has six wolves inside of her. Debra, a.k.a. The First Explorer is definitely the alpha. She’s the strongest, and the one who had initial total control over this body. When Echo Cloudberry regressed her back to youth, and tried to erase her memories, the balance of power shifted. Clavia became more of an amalgamation of all six identities. Yet those six original people are still technically in here, and in order to maintain the balance, she has to sort of commune with them every once in a while. She has to assure them that the choices she’s making are righteous, and that she won’t let Debra take over again. It brings a whole new meaning to being greater than the sum of one’s parts. Because if “Clavia” can talk to the seven people that she’s composed of, who even is Clavia at all? Is she a seventh person, or what?

“I would like to call this Meeting of the Seven Stages to order,” Clavia says from her perch on the topmost stage. She could have created a mind palace that looked like anything, but this seemed fitting. The stage area is in the shape of a hexagon, with the six lower stages surrounding the central stage. Curtains divide the six audiences from each other, and can be pulled further up so that each audience can only witness what’s happening on their particular stage. As it is situated much higher, however, the seventh stage is always visible to all audiences. Of course, there is no audience; it’s only a metaphor, but it works for their needs. Right now, the curtains are all pulled back, so everyone can see each other, including the one underneath the seventh stage, allowing the others to see each other. Clavia herself stands in the middle. Around, in clockwise order, we have Ingrid Alvarado, whose body Clavia is occupying; Ingrid’s love interest, Onyx Wembley of The Garden Dimension; Ingrid’s rival before the Reconvergence, when they lived in the Fifth Division parallel reality, Killjlir Pike; Ayata Seegers of the Third Rail; the dangerous one, Debra Lovelace; and finally, Andrei Orlov of The Fourth Quadrant.

The play that they would be performing this year—if any of this were real—is about a prisoner transport ship on the high seas of a planet called Earth. Clavia is obviously the captain, with Debra as their one prisoner. Andrei and Ayata are her guards. Ingrid, Onyx, and Killjlir serve as helmsman, navigator and quartermaster, and boatswain respectively. Again, the acting troupe is just the premise of the scenario, but Clavia felt that it was necessary to come up with some sort of fictional background to stimulate their minds. Their old lives are over, and there is no going back. They don’t even have bodies anymore, so it’s best to have something new to look forward to every day. They didn’t have to pretend to be stage actors—it could have been anything—but the name of their pocket universe made the concept essentially inevitable. They rehearse a new play every year. This one is called Rocking the Boat. These meetings allow Clavia to regain the memories that Echo took away from her, but before that happened, she had the mind of a child, so you can’t expect anything too complex or cerebral, even now that she’s older. Though, this one is indeed a little bit more mature. It still has that classic Clavia tinge of humor as Debra is playing the notorious evil pirate, Karen the Unappeasable.

“Can I get out of these chains?” Debra requests.

“I didn’t put you in those today,” Clavia answers.

“We did a dress rehearsal without you,” Ayata explains. She steps onto Debra’s stage, and unlocks her manacles.

Clavia tears up. “Without me?”

“Wait, look over here,” Ingrid requests. She goes on when her double turns to face her, “you did it. You cried on command.”

“I’ve been practicing in the real world,” Clavia explains proudly.

“I hope that doesn’t mean you’re using it to manipulate people,” Onyx warns.

“No people, just stars,” Clavia responds. “They are unmoved by my tears.”

“So the project is going well?” Killjlir assumes.

“Quite,” Clavia confirms. “We’re ahead of schedule. We’re more powerful than even we realized.”

“I knew your parents were keeping you restrained,” Debra says with disgust. “You had to get away from them to reach your potential.”

“We don’t know that they were doing anything,” Onyx reasons. “She’s older now—it’s natural for her to come into her own. Maybe it’s like a stage of puberty.”

“I chose them as my surrogate parents as a reason,” Clavia speaks up for herself. “I love them both. Echo and I are doing this in honor of them, not in spite of them.”

“Whatever,” Debra says.

“Aww, is someone a sad panda because I took away her solo?” Clavia asks.

Don’t get her started. “The story is about how we’re all feeling about our place on the boat, and how we’re dealing with those emotions without telling anyone about it. I have to sing, or my story’s not getting told.”

“No, the story is about how prisoners are silenced, and how the general public doesn’t want to hear what they have to say. That’s the whole point. The way your character keeps being interrupted and dismissed should be shocking and annoying to the audience. Karen lives in the subtext, and the negative space.”

“That’s another thing, I don’t like her name,” Debra says. “It’s what people actually used to call me.”

“Well, I admit, that one came from a place of pettiness,” Clavia tells her. “I kind of like it now, though. I can’t imagine calling her anything else.”

“I won’t say another word about it if I can play the hero in the next one.” Debra pitches this every year, and she has been denied every time except for the third year. In it, she did portray the protagonist, and she absolutely sucked at it. She’s the main character in her own story. Everyone feels that way, but she really feels it, and that came out in her performance. The rest of the cast may as well have not even been there the way she was chewing up scenery. If an audience really had seen it, they would have closed down on opening night.

“That’s what I wanted to talk to you about,” Clavia says. She’s switching between smiling and frowning, because she doesn’t know whether she should even bring this up. They contemplated doing it a long time ago, but the technology is too unreliable and messy. Consciousness transference is very good about moving a digital mind from one substrate to another. It works by scanning an entire brain all at once. It doesn’t understand the concept of an amalgamated mind. Why would it? That doesn’t exist in nature. If two people are occupying the same body, they’ve probably been allocated entire independent partitions in the brain. The Seven Stagers are too entangled with each other. When they’re on these platforms, it’s very easy to distinguish them, but the mind uploader can’t enter this memory palace. It has no way of recognizing them as multiple units, which should be uploaded separately. The other concern is Clavia herself. They still don’t know how much she relies on the six of them to even be her own person. Perhaps she only thinks that she’s her own entity. Perhaps if they were to leave, she would cease to exist.

“Did you decide what the next play is going to be about?” Ayata asks.

“It’s not about the play at all,” Clavia begins to clarify. “There may not be one. There may not need to be one.”

The others look at each other across their stages. “Did you figure out how to transfer us out of your avatar?” Killjlir guesses.

“I think I did.”

“Technology doesn’t advance that fast,” Onyx decides. “Not even the Parallelers can do it.”

“To be fair,” she didn’t talk to any of them,” Ayata says to him. “She couldn’t, or it would give us away. Maybe she found someone to trust who has a new idea.”

“I already have someone to trust,” Clavia explains before anyone can come up with their own theories on what’s going on. She takes a breath before continuing, though. “I think that Echo can do it.”

Everyone has their own way of reacting to this, but some common threads are groans, throwing up their hands, and shaking their heads. It’s not that they don’t like Echo. They love him. They just don’t think that he can do this. He’s conjured little critters out of nothing before, but that was back when he wasn’t consciously aware that he was doing anything, or had any power. He’s proven himself to be too in his head since he wiped his own mind, full of self doubt and fear. As far as they know, unlike Clavia, he never got his old memories back, and he may never have been strong enough to create human bodies.

“Now, why do you think he can’t do it? We’re starscaping out there. We’re building an entire universe out of dark matter and elementary particles. You think he can’t build a few puny human bodies for you? With his help, I could guide each of you out of my brain, and into your new ones. That’s what the conventional technology is missing. It was designed to dump everything in all at once, but Echo will have the context and intuition that it lacks.”

“You’re missing something too,” Onyx begins to use his experience and expertise from the Garden Dimension. “Stars are somewhat uniform balls of plasma, composed of hydrogen, helium, and metals. You can just toss in all the ingredients, and the laws of physics will take over, particularly gravity. I’m not saying what you and Echo are doing isn’t incredibly impressive, but the complexity will come out of the imagination you have for how your new universe is arranged, not by the inherent nature of the individual celestial bodies. Human bodies, on the other hand, are extremely precise entities, with complexities on a smaller scale. But just because it’s smaller, doesn’t mean it’s easier. Sure, it requires vastly fewer resources, but one tiny mistake could lead to catastrophe. You’re talking about creating something that took billions of years to evolve naturally, and unlike stars, it only happened once.”

“Wait,” Killjlir interrupts. “He doesn’t need to conjure the bodies. Those can be bioengineered using the normal techniques. We would just need a way to transfer us into them from Clavia’s head.”

“He wouldn’t be transferring them,” Clavia contends. “He doesn’t have the power to upload digitized minds. These would be true organic bodies, imbued with your respective consciousnesses through interdimensional pathways.”

“I don’t understand,” Ayata confesses.

“When you bioengineer a human body,” Onyx begins again, “there are only two ways to do it. Either it’s an empty substrate waiting for a mind to be uploaded into it, or it’s a regular person. An empty substrate is inherently digital in regards to consciousness transference. Even if it’s organic, it’s encoded with neural formatting compatibility. It can read a mind from another digitized brain, or a computer server. A normal body can’t do that. Back in the old days in the main sequence and the Parallel, they had to first figure out how to convert people’s brains into the right format since they didn’t evolve that ability.”

“So let’s do it like that,” Killjlir offers.

“We can’t,” Ingrid counters. “Like he was saying, that would be a regular person. It would have its own mind already, right?”

“Right,” Clavia agrees. “However smart or dumb that person is, or how competent they are to learn new things, the body would be ocupado, just like someone born from a mommy and a daddy. You would be stealing their body. Only Echo can make something both undigitized and empty.”

“Then why can’t we just use the digitized kind?” Ayata questions.

“Because you’re not digitized,” Clavia answers. “Our minds came together through completely different means, using a rare if not unique metaphysical process, catalyzed by the magnolia tree fruit that Ingrid ate just as you were all about to die. And digitizing us can’t be done as an aftermarket retrofit, because like we’ve been struggling with, the computer can’t differentiate between our seven discrete consciousnesses.”

Ayata nods, getting it, then looks over at her love. “Andrei, you’ve been quiet this whole time. Thoughts?”

Andrei takes a long time to respond, but by his body language, it’s clear that he’s going to, so no one else speaks instead. “I don’t wanna leave. It’s too risky. We would likely only get one shot at trying something like that, and if it fails, our minds could become totally decorporealized, or we might just die. I think we should revisit the idea of rotating control of the Clavia body.” He looks up at her. “I wanna stand on the seventh stage.”

“Same,” Debra concurs.

She obviously just wants all her power back, but does Andrei have the same aspirations?

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Microstory 2435: Bloodbourne

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This dome is scary, even though you know that you’re technically safe. I won’t go into specifics, but it’s heaven for fans of the horror genre. While Zombie Dome has its niche, due to its broad appeal, Bloodbourne takes care of everything else in the genre. Ghosts, goblins, evil demons, and other monsters. If you’ve read about it in a book, or saw it in a movie or show, it’s here...somewhere. Lurking. Waiting to pounce. Some are trying to kill you, some are trying to scare you, and some have more bizarre motives. Bear in mind that the safeguards are extremely strong here. If you go in there with a regular human body, nothing is going to hurt you. I even think they’ll lower the scare level so they won’t even give you a heart attack, though I don’t know how they ensure that when everyone’s personal constitution is different. If you’re wearing a sufficiently mechanical or strong substrate, you’re fair game. The monsters can kill you, and they will. They follow whatever rules they’ve been programmed to follow, based on their nature in the source material. If you see a guy in a mask holding a knife, you better run, or try to fight. That’s another important note. Even though you may be in a mechanical body, it’s not superhumanly strong. You will not be able to bat the hostile force around like a cat with a ball of yarn. You’re meant to be in a simulation of what the horror would be like if these characters were real, and that goes for the victims just as much as the bad guys. Your body is capable of bleeding, and it’s capable of dying. Of course, you’re consciousness will survive, but getting back into the scenario is difficult. I think it should be easier. They could treat it as a learning experience, where you get to try new tactics, but I guess they think you should have to choose a different scenario to keep going. That could change in the future. That’s why feedback like this is so important. I hope they read them. Now here’s the question, can you play one of the bad guys yourself? No, you can’t. I think that’s a shame, and they should change that too. My mind can just as easily be uploaded into the body of a psychopathic killer as a scream queen. I wonder if they just have an issue with potentially targeting people who are already psychopaths, and just haven’t had the pleasure of living out their wildest fantasies. People have been debating these things for centuries, because virtual reality affords us the same opportunity to be our sickest selves completely free from punishment or other consequences. We still haven’t found an answer, though some black market stuff can be really disturbing, so I think we kind of have settled on some boundaries. There’s something very different about doing it in base reality. Maybe that’s just taking a step too far. I’m not sure. See? This is why the debate is still raging after all this time. Draw your own conclusions. In the meantime, enter the scariest place on Castlebourne...if you dare.

Microstory 2434: Canopydome

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Around the turn of the 22nd century, a major effort began to rewild Earth. Most of the population were moving to megastructure arcologies, seasteads, and space habitats. The cities of old were taking up space where life could be thriving instead. By now, the amount of horizontal space that humans take up is practically negligible. But these endeavors weren’t the very beginning of it. Closer to the middle of the 21st century, people were fed up with how their ancestors had treated the planet. They hadn’t even considered bulldozing entire cities yet, but they still knew that more needed to be done to recover the ecosystems that had already been destroyed. In particular, they were worried about the Amazon rainforest. So many trees had been taken down, and with them, the little critters that used that region as a home. They fought back against corporate greed, and began to restore what was lost. This was during the beginnings of worldwide universal basic income programs, so it was easier to push back against certain institutions. Four hundred years later, not only can we restore whole ecosystems, but create them from scratch. That is what they’ve done here under Canopydome. While nowhere near as large as the one in South America, or other parts of Earth, it’s still nice. When an individual is standing there, under the canopy, it’s not like they can tell how expansive it is. That’s the thing about a rainforest, which sets it apart from other forested environments; you’re wrapped up in the foliage, and can’t see very far. When you’re in it, it feels like this is all there is, and if you’re alone, you feel that too. At the moment, there isn’t much fauna in Canopydome, so the animal calls you hear are from hidden speakers, but I was promised that this will change in the future as more organisms are bioengineered to sustainable levels. They explained how there is actually another rainforest dome, but it’s not at all accessible to the public. It only exists to introduce various species to a comparable environment, and let them figure out how to survive on Castlebourne, before anyone shows up to gawk at them. Apparently, there are a lot of domes like this which serve this purpose. That makes sense. Regenesis is a delicate process, and slow if you wanna do it right. They could make them as realistic automatons instead, but I think they want to be as authentic as possible. One of the reasons they’re doing this is to preserve life, not just so it appears that life exists here. If you’re afraid of large animals, my advice is to come here now before they show up. In contrast, if you want to see those animals, then I advise you to wait. We’re probably talking about five or ten years depending on your definition of the climax community—or more appropriately their definition of it.

Microstory 2433: Tokyo 2077

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Did you ever go to Tokyo, Japan in the year 2077? Well...welcome back! I don’t know exactly why they chose this year for their recreation. I looked it up, there’s no Tokyo 2042, or Tokyo-Yokohama 2115. Maybe it’s random, or maybe the creator has some particular affinity for this city in this time period. They may have just as easily chosen 2075 or 2078; I dunno. I did find something when I searched for answers in the central archives that the year 2077 was used in a surprisingly great number of media, but they were all set in the future, because they were created before this. So maybe it’s just a nod to that, because the robot staff aren’t telling me anything. They just say, this is Tokyo 2077, have at it. I think I may know why Tokyo was chosen, though. At the turn of the 22nd century, there was a huge push towards population overcentralization. They figured out how to create megastructures that could fit hundreds of thousands of people each. They were nicer, newer, and allowed the rest of the land below to be returned to the plants and animals. They built these things several miles away from the population centers of the time, so people didn’t have to move very far, and once the old cities were emptied out, they could start to bulldoze them over. Tokyo was one of the last holdouts, and not because they hated pandas. There were a number of reasons, but the main one was that they were already so densely packed. There was no room to build the damn thing nearby, especially when competing against other priorities, like preexisting wildlife preserves, and historically protected settlements. They also wanted to build it near the ocean, because people love the water, and all that space was taken up, because like I literally just said, people love the water. Plus, the population by then in the Tokyo Metropolis was already so huge, one of these arcologies barely made a dent anyway. They needed a lot more to make any bit of difference. As I mentioned, it eventually merged with Yokohama, forming one gigantic city that wasn’t going anywhere soon. People eventually did move out, to seasteads, orbitals, interplanetary and interstellar colonies, and to just other parts of the world, but it took longer than anywhere else to find room to construct the megastructures. Anyway, if you have some particular interest in seeing what Tokyo looked like a few decades before this great transition—or in reminiscing—come check it out. There’s plenty to do here, but the theme isn’t any narrower than the city as a whole. It’s only a replica with robots simulating people living their everyday lives, so no one’s going to give you anything specific to do. People are starting to treat it like a violent video game, and destroying the androids like criminal thugs. I don’t know why it’s a growing trend in this particular dome, because the planet is riddled with non-self-aware droids, but you can try that if you have a lot of pent-up aggression. Be yourself, I guess.

Microstory 2432: Infinity Suite

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Oh, I’ve just discovered that, not only can you review an entire dome, but also individual parts of that dome. So here I am, talking about the Infinity Suite in the Palacium Hotel. If there’s one thing this planet does well, it’s not worrying about how much space people take up. The Infinity Suite is the best example of this. I have no clue how it works, but that’s the right word for it. No matter how far I walk, or how many doors I step through, there’s always somewhere new to be. There’s always a new room to explore. Yet, I can’t get lost in it either. Each room, with no exception, has at least three doors. You can go back the way you came, press forward to explore more, or exit to the hallway. And when you do exit—again, no matter how deep you’ve gone—you’re back where you started. But here’s the thing. Your suite has two entrances from the main hallway. One goes back to the beginning, and the other returns to where you last were. So it’s not just some kind of trick of the mind, or an illusion. Or maybe it still is. It boggles my mind, I can’t figure out how the crazy Escher configurations work. Your last known location is somehow being stored in memory. And don’t you think that I’m just in a new hallway that was designed to look exactly like the original one. I’ve made changes, both inside and out, and tracked my progress. I’ve left little numbered pieces of paper on counters, chairs, and couches to create a map. I’ve matched each number with a photo of the room where I put it in. It matches afterwards. I can go back in through the second door, and retrace my steps, and nothing will have shifted. Those rooms are all in there where they’re supposed to be. That still doesn’t rule out some kind of advanced holographic illusion, but I suppose it doesn’t matter, does it? It’s still the craziest place I’ve ever been. They let me stay here for two nights, but then I had to give it up, so someone else could try it. There were presumably an infinite number of bedrooms, but I barely slept, because I was too busy trying to figure out how it works. If you manage to secure a booking, please write your own review, and provide any answers that you may have. Or, if you have any explanations, or ideas of what other tests that we could possibly run, comment below. I’m so confused and curious. I won’t ever stop thinking about it.

Microstory 2431: Melodome

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Don’t let the name fool ya if you’re interpreting the pun to be mellow + dome. It’s not about melodrama either. It’s the first part of the word melody + dome. This is all about music. Recording studios, concert halls, smaller stages, other interesting venues, and even sports stadiums where no one ever actually plays sports. This dome has it all. You can make music, listen to music, watch music. Every genre, every level of interaction; everything. No place like this exists on Earth. Even the cities known for music, like Havana and New Orleans, still had to leave space for regular living. This is the Music City, no matter what Nashville tries to tell you. There are some things that I’m not entirely sure about, unfortunately. When my great great grandparents were younger, they remember a trend where dead musicians were starting to be resurrected through holograms. This isn’t the kind of volumetric immersion that you’re used to in the present-day. It was very crude, and very obviously fake, even if you didn’t know that the subject wasn’t alive anymore. They recall being quite upset by this, not because it was macabre—which it is—but because it was disrespectful. These were real people who lived their lives, and then those lives ended. Before virtual immortality was invented, that was just what happened. These musical artists were immortal because of their legacy. That was what they were striving for, because they probably didn’t even guess at the future of life extension research. Their flame burned bright, but it was short, and that’s what was special about it. If you missed it, that was sad, but it was sad in a good way. The holograms robbed the industry of these artists’ authenticity, and sadly, that never went away. The technology kept improving, and the industry kept embracing it, despite pushback from the audience. There was evidently enough money in it, probably because of people’s morbid curiosity. Melodome has not shied away from this concept. They’ve brought the dead back to life using realistic androids. Not all of them are even dead, but living performers who just aren’t freaking on Castlebourne. I guess they signed away the rights to their likeness, but that doesn’t make it okay. I’m not going to name real names, but if John Doe can’t be here, then I shouldn’t be able to go to one of his concerts, and watch a convincing facsimile reenact his set from X number of years ago. I get that these are at least historically accurate shows, so they’re not merely contriving something entirely out of thin air. They justify it by saying that it’s like watching a recording, but I don’t consider that the same thing. There’s a lot of great things to see here. If you’re an artist, and you want a venue, they will find you one. I doubt the demand would ever surpass the supply. So if you’re a music fan who wants to discover someone new, you can do that. There’s always something going on, and it’s easy to find new acts on the dome’s prospectus, but there’s also this other side of it. They should really lean into the aspect of originality, because the reenactments are unethical at best. But maybe that’s just my point of view. You have to decide for yourself where your line is.

The Advancement of Mateo Matic: July 22, 2504

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“Who here likes music?” They were back at the Matic house now, sitting on lawn chairs in the front yard. Pacey had convened them, evidently thinking it was funny that they tried to break out of the simulation by examining blades of grass. While they were waiting to listen to his spiel, Mateo was looking at the grass himself since he wasn’t around for that test before. “I’m prepared to offer you a new home in a new dome,” Pacey finally started to say. “It’s basically a city, though the residences are minimal. It’s all about music. All the greats are there. Do you wanna see a live show with Elvis Presely? We have that, as an android who looks, acts, and sounds exactly like him. I can get you front row tickets. You can always have front row tickets. Any show from any artist, past or present.”

“What is this?” Marie questioned. “What are you doing here? Are you seriously asking how we would like to live as prisoners?”

“I mean, would you rather I just decide for you?” Pacey asked. “Seems weirder.”

“I remember you,” Leona pointed out, “but I don’t. You were...on a ship.”

Pacey sighed. “You were prisoners on that ship. You broke free, broke into my lab, and tricked me into giving you my technology.”

Their memories weren’t all there yet, but the most relevant ones seemed to come up when they were most needed. If they once had an adventure involving a ball of rubber bands, seeing a rubber band ball here would probably bring it back to the surface. But for now, it mostly had to do with their time on Castlebourne, and now Leona and Marie’s brief stay on a ship commanded by that Angry Fifth Divisioner who could not give his vendetta against them a rest. “What are you talking about?” Leona asked. “I didn’t trick you into anything. Yeah, I went in there to steal it, but you gave it to me instead.”

“You said that you were going to use it to protect a population in another universe,” Pacey said.

“Yeah, and we did,” Ramses interjected. “The Ochivari can’t get in there anymore.”

“Fair enough,” Pacey accepted, “but I told you not to use it for anything else, yet you did, didn’t you? You created something called a slingdrive, and you even managed to develop it enough for miniaturization and interdimensional pocketing.”

Mateo stood. “You’re right, he did, which is why we should be able to leave whenever we want. Right, guys?”

Pacey rolled his eyes. “I obviously put a dampener in the dome. You ain’t goin’ nowhere. So sit back down!”

It seemed unlike Pacey to get all riled up and intense like this, so Mateo did as he was told.

Pacey continued, “I don’t want to hurt you, which is exactly what would have happened if I had tried to extract the technology from these bodies. I might have asked you to switch to new ones, but that wouldn’t have solved the problem of you having this technology. You would have rebuilt it.” He dismissed it immediately as soon as Ramses opened his mouth to argue. “Even if you promised not to. Something would come up, and you would have to break our agreement. You already did! I asked you to use it once, then you explored your options. You can’t be trusted, so I’m keeping you on this planet. That is not in question. Your only choice now is which dome you want to live in. Some are obviously off-limits, like The Bowl and The Terminal. I thought Underburg was the best idea, because it’s pleasant, and inoffensive, but I guess you didn’t like how nice it was. So I’ve come up with some other ones, which is why I ask, do you like music? Melodome is the Music City...the real one.”

“How do you have control over all of this?” Angela asked. “Where’s Hrockas, and the rest of the staff?”

“They’re on the real Castlebourne,” Pacey answered. “That’s all I’ll say. Even though I’m gonna erase your memories again once it’s time to wake you up in the new dome, I don’t want there to be any memory of you understanding where you are in the cosmos. I can’t delete memories, I can only cover them up. It’s an ethics thing. I actually follow rules, even if I’m the one who came up with them.”

“What are our other options?”

“Boyd,” Romana scolded.

“What?” Boyd asked her. “He has the power. I recognize power, I’m a pragmatist.”

Pacey smiled with only a slight bit of relief, knowing that this didn’t mean everyone was on board. “Well, you can also just live in the Palacium Hotel; have any suite you want, whenever you want it. I’m sure you’re aware of all the amenities, like the swimming pools, the game room, and the spa.”

“Boring!” Boyd complained.

“There’s also Tokyo 2077.”

“I’m not familiar with that one,” Olimpia noted.

“It’s what Tokyo looked like in the year 2077. Your lives would be as interesting as you want them to be. I can even implant the Japanese language in your brains, if you don’t already speak it.”

“I don’t like city environments,” Olimpia said. “What else you got?”

“You’re not seriously entertaining this idea?” Mateo asked her, shocked. “He’s the bad guy here. We can’t just roll over.”

“What choice do we have?” Boyd posed. “As I said, he has the power. Don’t antagonize the antagonist. Isn’t that one of your rules?”

“Technically, it’s mine,” Leona said. “And technically I agree.”

“Et tu Brute?” Mateo didn’t know where that phrase came from. He just hoped that he was using it right.

“Yesterday, we thought that we were hopeless because we were in a virtual simulation, where we couldn’t even trust our own minds.” Leona paused dramatically. “That doesn’t appear to be the case. So we are not hopeless. Put us in whatever dome you want,” she said to Pacey. “We’ll get out again.”

“You’re welcome to try, but you won’t remember any of this.”

“Go on with your options,” Ramses spat.

Pacey wasn’t perturbed. “Canopydome might be nice. It’s a rainforest, but there are nice places to stay.”

“What if we refuse to choose?” Mateo asked.

“Then I’ll choose for you, and you might not like it. And if you continue to piss me off, you might really not like it.”

“We can’t just let him control us,” Ramses argued. “We have to fight.”

“You’re changing your tune,” Romana pointed out.

“It’s not hopeless anymore,” Ramses explained. “We’re physical, I didn’t know that. I can’t tell you all what to do, but I will say that I’m not going to choose my own prison. I reject it on principle.”

“I have a nice place lined up for you,” Pacey said. “Maybe pack a coat or two.”

“Do your worst,” Ramses volleyed.

“He doesn’t speak for all of us,” Angela said, trying to be clear on her concession.

“He speaks for me,” Mateo told him.

“Then you won’t all necessarily be together anymore,” Pacey decided. “But don’t worry, because most of you won’t remember each other anyway.” He glared at Mateo. “Most of you,” he repeated. “Some of you might even not be alone.” He stood there for a moment, in apparent deep thought. “Okay, I have your assignments. Go to sleep.”

His command was ineluctable. He said it, they did.

Mateo woke up with a start. It was dark, but he could see the foreboding crooked lines of bare tree branches above him. He was in the forest. It was soft and dry. He could not bring himself out of an intense feeling of fear. At first, he thought it was due to a nightmare, but he couldn’t remember having one. No, he was afraid of something here, in the real world. He darted his eyes back and forth, but he daren’t move a muscle. Something was around him, lurking...biding its time. He didn’t know what it was, but it was incredibly dangerous. This whole world was dangerous. Even if he managed to clear the most imminent threat, another would be right there in moments. He was so uncomfortable, though, on a root maybe. The more he adjusted his position—the more sound he made—the more enemies would be alerted to his presence, and his location. They weren’t just enemies, though. They were monsters. There were all monsters.

He could remember what happened now. The current antagonist dropped him under this dome with full memory of all that happened in the dome before. He even found himself being able to distinguish the true experiences from the implanted memories that Pacey used to reinforce the illusion. As Mateo lay there, still too fearful to make a move, he found his old memories returning as well. His unremarkable origins in the 1980s, growing up with his adoptive parents, being turned into a time traveler, unintentionally erasing himself from the timeline, exploring space, fighting villains, changing the past. He was Mateo Matic, husband to Leona Delaney, and father to Romana Nieman. And he had to get back to all of his friends. Get up. Get up!

Mateo sat up, at first thinking it prudent to stay on his rear, but realizing that to be the most vulnerable position. At least when he was on his back, he was theoretically concealed. So he quickly shifted to a crouch. He looked around, not seeing anything in the foliage, but knowing that they were there. Pacey never specifically said where he would be sending him, but there was only one place it could be, given recent developments. Hrockas named this one Bloodbourne. Take every horror film killer, and stuff them in one metropolitan-sized environment. That was the idea, to incorporate visitors into a world full of real danger and violence. On Castlebourne, there were safeguards in place, chief among them being every visitor’s ability to have their consciousness transferred to a new substrate whenever the old one became too damaged. It wasn’t so much an ability as a requirement. It was just as illegal to let oneself die permanently and for real as it was to kill someone else. According to Pacey’s cryptic words, though, this wasn’t really Castlebourne; it was somehow just very similar to it. Perhaps those safeguards weren’t around. The only thing to do now was to find a way to survive.

Something was in the brush. There could be rabbits here, like that common trope in fiction where that was what it turned out to be; a misdirect for the audience to let their guard down just before the true jumpscare emerged. Or it could be something genuinely frightening. Mateo didn’t want to stick around and find out. There was no reason to approach the shaking leaves, like the idiot protagonist in a movie. The only choice was to run. Cautiously, but still quickly. He took off, deftly dodging tree trunks, and avoiding getting his feet caught in exposed roots. Where was he running to? Well, the scope of these domes were limited. They each had a radius of 41.5 kilometers. So if he just kept going in any direction, he would eventually hit the wall. Now, whether he would be able to find an exit, or if there was even one to find, was a different question. Either way, it was the only logical way to go. Of course, he could already be next to a wall, and running in the complete opposite direction, which would mean he would have to travel the full 83 kilometers, but there was no way to know that.

Perhaps this was the wrong call. Maybe movie characters had the right idea by investigating one unknown at a time. His running has evidently awakened a number of monsters in the area. At first, only a couple of them showed up, but then more. And more, and more, and more. Pretty soon, two dozen creatures were chasing after him. He couldn’t run from them in a straight line either, because some of them were actually ahead in his path. So he was zigging and zagging, and desperately doing everything he could to avoid being caught by even one of them. Then he saw something in the corner of his eye. It was a human, and something about her figure made her seem less threatening than the others, even though there were plenty of human killers here. It was the mask, or rather the lack thereof. Most horror genre killers wore some kind of mask, sometimes to conceal their identities, but also to instill dread in their targets. For franchises, it was a way to become iconic, and differentiate themselves from their competitors, even though the formula was pretty much the same throughout all of them.

She wasn’t wearing a mask of any kind, and it didn’t look like she was looking to attack him. No, it looked like they were chasing after her too. Pacey said that not all of them would be alone for their assignments. But it wasn’t Leona or Romana. Not Olimpia, nor either of the Walton twins. Holy crap, it was Paige. Paige Turner, at an age that he had never seen her before. “This way!” she cried.

She seemed to know what she was doing better than he. Mateo turned when she did. They rounded a thick grove of trees, and found themselves coming up on a cliff. He couldn’t see the elevation just yet, but based on the beautiful scenic view beyond, it was probably pretty high. “You got a plan?”

“Don’t stop!” she replied.

He trusted her, though to be fair, it could have been a shapeshifter. Those belonged in horror films too. Just as he leapt over the edge, she stopped for half a second. This was just enough time for him to get ahead of her. After she jumped, she reached for Mateo’s shoulders and held on, digging her knees into his back. He wasn’t one to make a good guess at a falling height even when he was in the middle of it, but it was surely over fifty meters. He maybe could have grabbed some branches below to break his fall, but Paige might get tangled up in them, so he stayed on the straight path, and just let himself crash land on the relatively smooth ground below. He lay there for a few minutes while the nanites flowing through his body started to affect their repairs. It didn’t sound like she was worried, so the monsters probably hadn’t taken a leap of faith behind them. Once he was healed enough to move just a little, he turned over on his back. She was sitting next to him, still catching her breath. “It’s nice to see you, Paige.”

“That’s not my name,” she responded. “I go by Octavia.”

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The Seventh Stage: Rock and a Hard Place (Part III)

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Ezqava ‘Effigy’ Eodurus has had a storied past. Much of it, she prefers to forget. She was young and stupid at the time, and very vulnerable. She placed her trust in someone who turned out to be so much better than her, she never wants to feel that judged again. She truly doesn’t understand her own mind. She’s mischievous and unpredictable, and even sometimes violent. That’s why they locked her up on Earth, and now on this random remote penal colony. Colony isn’t the right word for it, though, since she lives here alone. It’s not too bad. She has a nice home with a pool. The weather is always tame, but she can see storms range in the distance, which is interesting. They’ve provided her with countless hours of entertainment, but no means of communication. She can see what’s going on all over the universe, but can have no effect on it. Unless someone comes to talk to her. Which they do, all the time, though less so in recent days. When she was trapped in her cage on Earth, no one visited her. Most people didn’t even know that she existed. Here, she’s so popular. Here, they value her knowledge. Sadly, they don’t value her as a person. It’s her fault, and she knows it, but it’s still been difficult.

It won’t always be like this. Effigy doesn’t have the power to see the future, but with all the data that she’s collected, she’s pretty confident in her predictions. Hers is not the only transcendent power in these lands. There are two others, and based on the trajectory of their dealings, it won’t be long before they meet. The only question then is whether she can convince them to join forces with her. In the past, she would attempt to gain allies through trickery and subterfuge. Her ability to shapeshift into any human form has always been too tempting to ignore, and too easy to abuse. Her usual methods won’t fly with Clavia and Echo. Not only will they see right through it, but they actually have the power to turn on her. The reason she was in a cage for centuries was because none of her combatants knew how to kill her. The Cloudbearer twins do not suffer the same shortcomings. They have more power than her, and it’s hard to tell how they’ll use it. They’re good...for now—if there even is such a thing as a good person. That doesn’t mean they won’t fight her. If she wants them to trust her, she has to be honest, good, and honestly good. That’s why she has spent the last several years helping leaders of this pocket universe. She’s been asking for favors in return, but only because that’s what they expect. If she did it for nothing, they would be suspicious of her.

Effigy has been trying to get better, but without an unbiased third party to assess her progress, she can’t know if it’s worked. Her self-improvement was driven by her desire to regain the power and freedom that she once had. Is this a paradox? Is it impossible to be worthy of the power that one seeks if they seek it? Is ambition inherently evil? More importantly, how will the god twins see it? Earlier, she planted the seed of her answer when an old friend came for a visit. Either she’s about to get a third visitor in one day, or her friend is back.

She watches as the personal pod streaks across the sky, and lands somewhere on the other side of the wall that keeps Effigy from seeing the ocean. She’s tried asking for a tower to have a better view of this world, but she’s never given anyone enough intel to warrant such a gift. She’s going to play it differently this time, not like she did before with Bariq. She’s going to be cool and composed, but genuine and professional. The door opens. Two women walk through. One is the friend, but the other is a stranger. “You have returned,” Effigy begins, “sooner than I expected.”

“The term sequence that you provided was right,” Tekla replies. “It took me to an evidently unused Nexus, which allowed me to travel to Origin, where I met an apparent god, who connected me with this one here.” She gestured towards the other woman.

“Hi, Francis Deering,” she says, offering her hand.

Effigy reaches out for it, then pulls back in horror. She forgot to shapeshift into the form of a human. She looks like her true self still...a white monster. “I’m terribly sorry. I didn’t mean for you to see me like this. I didn’t realize.” She takes a breath, and transforms herself into a woman she once knew by the name of Slipstream.

“It’s okay,” Francis assures her. “You don’t scare me.” Her skin begins to vibrate and ripple. Within seconds, she looks like a masculine version of herself, perhaps a twin brother, or something. She—or he—seems as surprised as Effigy and Tekla do. “Wow, that was much faster than it is where I’m from. Your world is interesting.”

Effigy smiles. “May I ask, what are your pronouns?”

“She/her when I’m in my female form, and he/him when I’m like this.  If you’re talking about me in a more general sense, and you’ve encountered me in both forms about evenly, you can use they/them.”

“Can you turn into anyone, or just this one guy?” Tekla asks him.

“I’m not turning into a different person,” Francis explains. “I’m both people. Nothing about who I am as a person changes when I’m in one form or the other. They call me a dimorph; both male and female. I can only have one reproductive system at a time, but my mind and personality maintain continuity.”

They nod.

“I can shift back, if you’re more comfortable...” Francis offers.

“No, it’s whatever you want,” Effigy assures him. “Is that why you chose him?” she asks Tekla. “Because he’s a shifter.”

“I explained the situation to the god, Senona Riggur, who suggested a therapist would be of some use to you. This is who they chose.”

“So, you’re from another universe?” Effigy asks Francis.

“Am I?” Francis volleys. “No clue. I just go where they tell me.”

“Well, I really appreciate you coming here, and I would appreciate more of your time. You see, I’ve traditionally not been so great of a person. As you saw, I’m not a person at all. I think that I’ve learned the error of my ways, but self-assessment can only get you so far.”

“You say you’re not a person. What do you mean by that?”

“Well, you saw. I’m not human.”

“Just because you’re not human doesn’t mean you’re not a person.”

“Do you know a lot of non-humans where you’re from? I mean, more intelligent beings than just dogs and cats.”

Francis smirks. “I know a few.” She takes a beat. “Let’s get into this. Is there somewhere we can talk?”

“Yeah. Tekla, do you need to get back to Judy before she gets suspicious?” Effigy asks, worried. Maybe she is better, worrying about others.

Tekla laughs. “You think I took the Nexus to a hostile unknown location without getting my boss’ permission first? She went with me. She was granted her own wish alongside mine. Don’t ask what it was, though.”

“I see. Tell her thank you. She’s always been more supportive and understanding with me than other people.”

“I will pass along the message. Until then...” Tekla starts to say, “I’ve never skinny-dipped before, but I hear that’s how it’s done in this pool.”

Now Effigy is the one to laugh. “You can if you want. I also have suits in the cabana. We’ll be in the solarium, if you don’t mind a little sun, Mr. Deering. The windows are rated high for UV shielding.”

“That sounds lovely,” Francis replies.

The two of them head to the other side of the house to discuss Effigy’s issues, and her self-doubts. In the spirit of my agreement with Dr. Hammer to stay out of the therapy sessions that she has with her own patients, I cannot relay what Francis and Effigy discussed in private. While Dr. Hammer did not technically ask me to maintain the privacy of all of my characters, I believe that she would prefer me to respect therapist-patient confidentiality across the board except for conversations which are integral to the plot. Suffice it to say, Francis’ wisdom was very helpful in Effigy’s quest to not only become a better person, but to understand what that truly means, and how to measure her own progress, as well as recognize her successes for what they are.

Effigy looks up to the sky again. “You’re in my head.”

Is she talking to me?

“Yes, Superintendent, I am talking to you. You are writing this story from an omniscient third-person perspective. You know everything that I’m thinking. The fact that you chose not to watch my therapy session is meaningless. You still know exactly what happened. You could always just pull it straight out of my thoughts.”

“Who are you talking to?” Francis asks. They’re currently strolling around—

“No, no, no,” Effigy interrupts me. “You’re not going to ignore my question by droning on and on about the minutiae of our current behavior, just to reach some arbitrary word count goal on this installment. There’s vivid imagery, and then there’s pointless and trivial details. We’re walking back to the other side of the house. There. Done. That’s all you need to say.”

I wasn’t ignoring your question. You didn’t ask one.

Effigy stops to think for a moment. As she does so, a beetle-like insectoid crawls along the leaf of a plant hanging from a pole on the side of the building. A spider-like creature is on the underside of this leaf, and the question is whether one will notice the other, both each other, or neither. No one is looking at these organisms, but it’s still happening. Things like this are happening all the time, all around you. If Effigy weren’t blinded by her frustration with me, she might have the capacity to take a moment to admire the beauty. She’s standing next to it right now, stewing. She’s choosing not to look over at the insectoids, knowing all too well that if I wanted her to look at them, she would goddamn look at them. For as powerful as she thinks she may be, she is nothing compared to the might of the author. I could erase her from the story with a few taps on my keyboard. She would never connect with Clavia and Echo. She would never realize her full potential. She would never really know if she became a better person, or if the leopard simply can’t change its spots. I already spent years not mentioning Effigy and her exploits at all, and I can do it again. I could do it forever if I like. Her past as the final boss in the Springfield Nine franchise may never have happened. I could erase that too if I wanted. And maybe I will.

I just did. Effigy who?

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