The Advancement of Mateo Matic: July 23, 2505

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Mateo’s nanites were just about done healing him. They prioritized the most life-threatening injuries first before moving on to the less serious damage. So a few cuts and bruises remained, and they hadn’t done anything for the pain yet. Even so, he could now stand up, and get a look around. Octavia still didn’t look concerned, so maybe this was some kind of refuge.

“We need to get moving,” she warned. “I let you recover, but it’s not safe here.”

“Is it safe anywhere?” he asked as he was following her along the stream.

“No,” she conceded. “The horde that was chasing after us can’t follow. Free from oversight, they’ve formed alliances, and divided the land into territories. We’re kind of on a border, so that offers us a little protection, but someone will eventually grow brave enough to cross the line—or hungry enough.”

What did you mean, no oversight?”

“This isn’t the real Castlebourne,” Octavia began to explain. “I don’t know exactly what it is, like an alternate reality, or something, but none of the staff is here. I don’t know who runs it—if it’s Pacey on his own, or if he’s working with someone else—but they don’t keep watch over the safeguards. These monsters are more vicious than they’re supposed to be.”

“How long have you been here?”

“The Vellani Ambassador rescued me and a bunch of others from Ex-486 in 2498. I wasn’t there long before I started hearing how worried the crew was about your whereabouts. I don’t know what they thought was wrong, but they were afraid that something had happened to you. So I agreed to investigate while they continued on with their missions.”

“Well, you found it. You found us.”

“Now, I have,” she agreed. “I found Pacey first, though, and he stuffed me in here so I wouldn’t interfere with his business. I’ve been running for my life ever since.”

“What happens if you die here?” he pressed.

“Nothing good,” she answered simply. “My body isn’t like yours, so I’ve been avoiding everyone. There are some buildings; particularly houses. They’re mostly haunted, but the ghosts have rules, and if you learn them, you can stay safe for a while.” She sighed. “But I think you can help end the madness forever.”

“How’s that?”

She looked around with a face full of paranoia and fatigue. “We’re pretty close to one side of this dome, and I can navigate us there. Unfortunately, once we get there, we’re going to have to walk halfway around the perimeter to reach the exit.”

“There should be more exits than that.”

“Like I said, it’s not the real Castlebourne. Pacey made modifications. There is a way out, but I can’t get through it with you.”

“It takes two to open the door, or something?”

“No, it takes an elite.”

“I’m an elite?”

“Yeah, of course you are. You were in Hrockas’ inner circle, and he hardwired contingencies into the software that should grant you access to any area at any time. The way he sees it, the planet is as much yours as it is his because of how much you contributed to its development. I don’t think that Pacey could have erased all those privileges without breaking the systems entirely. He would have had to reprogram everything from scratch. I’m sure he’s technically capable of doing that, but he’s kind of old school, so doesn’t like AI all that much. He likes to be hands-on, so he deliberately limits the tools in his toolbox.”

“So I can unlock the door, and we can both walk through?”

“That’s the idea.”

“Does he not know that?”

“I don’t know how much he knows about what I know.”

“It could be a trial,” Mateo put forth. “He may want us to escape. Some antagonists want us to stay out of their way, but others want us to stop them, like Thanos is with the Avengers.”

“I wouldn’t know anything about that.”

“And you can’t teleport, right? Because I can’t. I tried while I was running once I remembered that I should be able to.”

Octavia shook her head. “I don’t have any powers at all. I lost that when I went back in time as September, and created a new timeline. I don’t like to talk about it, but it sets me apart from the other Paiges.”

“You don’t have to,” he assured her. “How dangerous is the border?”

She bobbled her head. “It has its advantages, and disadvantages. The monsters don’t know that they’re in a dome. If you showed one of them the wall, and they were the kind who could talk, they would probably just say, it doesn’t look like anything to me. They’re programmed to stop several meters before it, but they patrol that border, because they can still feel that there’s something weird about it. You’re safe beyond their reach, but there aren’t any resources there. No freshwater, no edible plants. You can take breaks, but you can’t stay.”

“Then let’s grab some supplies along the way. Now you can carry twice as much as before, and I don’t eat much.”

“Some of your powers and abilities are available to you, as you discovered when you jumped off the cliff and survived, but not all of them. If you aren’t hungry already, you will be soon. We need to get to that exit.”

“You seem to know a lot about it; about me.”

“You were part of my investigation,” she clarified. “I had to know who I was looking for. A lot has changed since I last saw you, many iterations of Paige ago.”

“Yeah.”

After nightfall, they finally managed to reach the border. She was right, there was a narrow open space that seemed to circle around the border. The problem was that this meant walking an additional 130 kilometers. Mateo didn’t know how his pattern worked in here. Even if he woke up right at midnight central, there would not be enough time for them to cross that distance before the end of the day. Paige would have to wait a whole year for him to come back, and then they still wouldn’t be able to make it in under 24 hours. Perhaps this plan wasn’t so perfect. There had to be a closer exit, perhaps hidden behind a false wall, or a hologram. As they were sliding their hands along what felt like glass or metal, they started hearing a commotion behind them. They turned around to find a new horde of monsters, about the same size as the one from before. But then more began to appear on the ends, and it eventually felt more like ten times that size. They were just standing there, staring at the two of them menacingly.

Paige’s watch beeped. “Oh, no.”

“What does that mean? Don’t tell me the worst monster comes out at a certain time.”

“No. It’s an hour until midnight central. You’re about to disappear for a year. This was stupid, we should have run straight through the center to the door. Now we’re screwed.”

“Don’t be so sure. Are you seeing what I’m seeing?” Mateo asked her. “In that clearing over there.”

“You can’t be serious.”

“If I recall correctly, it’s pretty maneuverable.”

“It’s pretty deadly.”

In the 1980s, a horror movie came out that would become a cult classic decades later. It was simply called Seatbelt Killer. Mateo couldn’t remember the exact backstory, but the villain’s origins involved his seatbelt getting stuck while his wife was being violated outside in front of him. He ended up turning the car on, and running over one of the rapists, but when the husband turned to get the other one, the second rapist threw his wife in front of the car, leading him to hitting her instead. The rapist then ran off, eventually getting trapped between the car and a cliff. With nothing left to live for, the husband drove right into him, and over the edge, where they both died. Then he and the car came back to life as a ghost, and started killing the protagonists over the course of the movie. The premise was that he literally couldn’t get out of his car anymore, but you couldn’t escape by going inside, because as a ghost car, it could fit through doorways, down hallways, and even up the stairs. You would think that he would kill rapists, but because he accidentally killed his own wife, the ghost could now only kill rape survivors. There was an implication that he didn’t want to do this, but was...driven to, so to speak. Due to the sensitive nature of the film, they never gave the car a name, but it was entirely fictional. The propmasters apparently manufactured the models from scratch so they wouldn’t have any sort of legal or reputational issues to contend with. But whatever it was, it was here, and Mateo wanted to steal it.

“Mateo...” Octavia began uncomfortably. “I can’t go near that thing.”

He knew what she meant right away, and if she was willing to talk to him about it, this wasn’t the time. “Have you seen the movie?”

“No, but I know the premise, which means I know that I qualify as a target.”

“The Final Girl survives by getting in through the passenger side window, and taking the steering wheel. She didn’t just take control of it, she literally removed it.”

“I’m guessing it wasn’t easy.”

“It’ll be easier for us. She was alone. You have me.”

“But if we take off the steering wheel, we won’t be able to drive either.”

“His weapon is the car itself, his hands are only his means of controlling that. If we get inside, I can control where the car goes, and he can’t hurt you while you’re in the back. We’re not gonna remove the wheel, because unlike the girl in the movie, we need to use it.”

“It sounds risky.”

“It always is. It’s your decision, though. I understand that I don’t understand. But I can tell you that I will protect you, and I’m a damn good driver.”

“Okay. We better come up with a plan fast, because we’re running out of time. Even if you drive as fast as possible, it will take nearly the full hour to get there.”

Mateo nodded, then started to shake his head. “We’re not going around the perimeter. We’re going straight through.”

They hatched their plan, though it wasn’t all that complicated. Octavia came up with the idea to use herself as bait for the Seatbelt Killer, but Mateo wasn’t getting off easy. He was bait as well. While most of the monsters in this dome wanted to kill both or either of them, only a few of them were exclusively attracted to Octavia, based on her profile. They would use this to their advantage. Mateo would lure all of the others away, so Octavia was only contending with one of them. Once it was just her and the car, she would hop over the boundary, back to the safety of the perimeter. This would give her a respite that the characters in the original movie never had. From there, with the driver essentially frozen in place, she could simply climb onto the hood, and slip through the open window. Mateo never saw her accomplish this, but it evidently worked. She drove up next to him while the horde was chasing him through the woods. He dove in the back, and she sped up so fast that no one else was able to keep up.

“We need to get you up front so you can do the steering!” she shouted. She was navigating the terrain pretty well, but still struggling against the driver. He was bound to his seat, but not entirely helpless there. He was still trying to peel her arms away, just as he had the girl in the film. With a bit of ingenuity, this heroine had managed to pry the wheel off of its place, which stole his power from him, and allowed her to escape back through the window. A mid-credits scene suggested that he was about to be successful in finding a workaround by rigging a tire pressure gauge as an ad hoc steering wheel, which may have played out in a sequel, but it was never made. Mateo was a driver, so he watched movies about drivers, even bad ones, and sometimes he read about them too. There was a theory that made the rounds on the message boards that this sequel would have ended with the Final Girl also managing to get in the car, but solving the problem by finally freeing the killer from his eternal seatbelt. Could it be true? The creator never responded to these rumors, but an unverified snippet of the sequel’s script appeared to support the lore. Whether that was how it would have worked in the movies was not the question, though. The question was...was the android who was programmed to believe he was the Seatbelt Killer coded with this solution, or would it only make things worse?

“Do you have a knife?” Mateo asked her. Now that he was inside, he could hold the killer’s arms back, but the guy was really strong. They might not be able to keep him at bay for the duration of the drive.

“What?”

“A pocket knife. Scissors. Anything!”

“No, I don’t have anything like that!” Octavia yelled back. “I didn’t know I was gonna be trapped in the woods for seven years!”

“I need something sharp,” he muttered. Just then, a glow started to form in his right hand. He let go of the killer’s arm to look at it in wonder. The glow consolidated, and began to take shape. Before too long, it was in the form of a knife. And he could feel it in his palm. Somehow, despite Pacey’s restrictions, Mateo’s weird telekinetic hologram powers were back, at least in this one instance. Not taking any chances that it wouldn’t last, Mateo slipped the blade underneath the belt, and with one slice, ripped it right open.

The killer stopped struggling. For a moment, he just sat there in awe. Then he pulled the strap through the loop, opened the door, and tumbled out. Octavia sat there in shock, not even paying attention to where they were going, which was all right, because they were in an open area now, and slowing down quickly.

“Okay. I’ll take it from here.” Mateo climbed over the headrest, and situated himself in the driver’s seat. Then he took off again, free from resistance or distractions.

Now that they were clear of the monsters, their primary struggle was against the clock. In the movie, the car could phase through objects, or even squeeze itself through like a bus out of Harry Potter. That wasn’t possible in the real world, so Mateo just had to negotiate the trees and other obstacles. He kept going though, relying on his great skills, which had only been enhanced during his stint in the Underburg dome. The clock was ticking as they were approaching the part of the wall where Octavia said there was a door. He barreled through the treeline, and onto the perimeter again, almost all the way on the other side of the dome. New monsters were upon them now, but were still bound by that imaginary line.

“How do I open this?” Mateo asked. Before Octavia could answer, he placed a hand on the handle, and heard a buzzing sound. “Hm. Was that it?” He opened it.

Octavia breathed a sigh of relief as her watch was counting down. “Finally.” Four, three, two, one.

Mateo blinked, and it was 2506.

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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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