#Square the circle

[jurassiclemon]

Square the circle Instragram

[speaker-of-the-void-cats]

Dubito, ergo cogito, ergo sum

Whispering. Whispering. Whispering.

ACCESS: RESTRICTED

DECRYPTION KEY: H1D6EN3VIL5$IKO-006

REP#: 708-PSYCHOMETER-TEST

AGENT(S): POE-344

TUNING TO WAVES...

Speak to me not of the Darkness, I want no part.

This war is all there is for you. What else do you have? You walk among mortals and immortals, a creature lost in time. Your only purpose is the struggle. Does it seem unfair? To be brought back into this, the end of days, the long dwindling exhalation of an ancient corpse? You were at peace. Now you are a dead husk charged with war. Do you remember anything of freedom? Fight on, then. The war IS everything. But consider the choices before you.

I was given a heart

Before I was given a mind

A thirst for pleasure and war

A hunger we keep inside

"Let the heat melt your body so your soul might flow with the river of time." —Parables of the Allspring

Is it you?

I'm so glad you're the one who found me. I've foreseen so many horrors with these stolen eyes, but now, when for once I ache to know the future, I can't be sure of even A simple ho000pe. Are you the one reading this message? I think it must be you, Guardian. Who else would look for me? Ikora trusts her Hidden to return when they are needed, and Cayde would roll himself down AAAngel Falls in a barrel before he'd admit he missed me. Zavala does not place me first on his long list of worries. You're the only one who would go out and look for me. I never needed you to save me. I wasn't a dried corpse or a dead Ghost or a voice on the com sure to die before you could offer help. I hauled myself out of that pit. I made my own way back to the To000wer. And if I was… unsubtle in the way I threw you against the Hive, if I seemed to wield you as vengeance, please believe that your victories were the closest I could come to feeling joy. I know you must have questions. What did I plan with the Queen? What destiny did I embrace after Oryx fell? What's happening in this city, where dream has become nightmare? I can guide you to undo this curse, as I once guided you to unmake Oryx. But in the DreaAAAming City, as in the secret worlds of the Hive, there is almost no difference between the act and the actor. In order to understand my answers, you must understand me. I lost my Ghost and my Light to the Hive; I conspired with the Queen of the Awoken to destroy the Hive King Oryx and his son Cro001ta, and to position Queen Mara as player on the cosmic board; I fled your Tower to prepare for the struggle to come, into the Sea of Screams which calls to all those who plumb the depths of Hive magic. I can only slip these letters into the Queen's gifts when the stars are right. You will have to wait for my next, and with it, the beginning of the truth. But I swear to you, on whatever trust I've earned in your mind, that at the end of my story, you will know who I truly am.

I.I Before one can be freed, one must question the truth of their purest identity.

I.II And so a question is begged: Who resides at the core of your being?

I.III Only honest reflection will see you—lone traveler—through the coming storm.

I.IV Look, then, clearly upon the whole of your existence, and face your glory—strength of will, every flaw of your mortal heart and fabled soul.

I.V Through the pieces of a life lived divine your truth, but do not lie—to the world, if one must, but never to yourself.

I.VI To see yourself as anything but what you truly are will lead you down sorrow's road, unprepared for the consequence of your salvation.

I.VII Once an understanding is met, and the self is purified in the knowledge of its truth, the cage is set to be unbound.

"Know thyself in honest ways, or falter in light of your truest self." —3rd Understanding, 7th Book of Sorrow

In my first life, I was born Erisia Pyatova-Hsien. I remember thatPrivate life clearly now, as ex-Guardians who have escaped the Traveler's occlusion often do. I lived in St. Petersburg, first daughter of a second marriage, a very impatient child of Earth's 22nd century, often abandoned by my family (who were called by work to Jakarta, Kamchatka, and Lagos) to pass my days swimming in the icy Neva bay. I loved to swim, and especially I loved the clarity of the cold shallow Neva, as crystal-clean as a winter dawn. Enormous Zubr-9 hovercraft barges roved the waters; Russia had modernized its waterways better than its sad auto industry. As a kid—is it strange to hear me speak casually? As a child, I never swam too far from my parents' little drone helper Fyodr. The swift hovercraft terrified me, their billowing skirts waiting to suck me up and dice me into little raisins. But I grew up and fell in with a reckless crowd, rebels against the stifling death-fear that came with our Golden Age lifespans. Soon the child's safety harness and Fyodr's careful oversight began to itch at me. When I was |EDGE|seventeen, I went out in a wetsuit on a dare to dive under the skirts of an oncoming hoverbarge. Maybe I was in no danger; maybe the machine would've changed course if it could possiblyGemini hurt me; but I thought I might die, and I did it anyway. And as that beast swept over me, as I trembled under the blast of the propellers, I felt a thing which was very much like what I would one day know as the Light. Maybe that thing was heroism. Maybe it was existence on the edge of death. It was the first time I survived the passage of tremendous, godlike power. I died more than twenty years later attempting an unassisted winter swim from St. Petersburg to Stockholm. A cold front like the very furnace of hell caught me. I had been warned the crossing was suicide, even for a perfectly trained and exactingly fattened woman in a shark suit. But those were giddy days, days of infinite bravery, and there were no mighty feats left except the truly suicidal. I cannot regret it. I think that death prepared me for the longer, darker, more exquisitely cruel crossing I would one dayDyad endure. It is no accident that my Ghost made me in the image of that swimming woman, rather than any of my younger and less grimly determined selves.

The Waste Land

I. The Burial of the Dead

April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. Winter kept us warm, covering Earth in forgetful snow, feeding A little life with dried tubers. Summer surprised us, coming over the Starnbergersee With a shower of rain; we stopped in the colonnade, And went on in sunlight, into the Hofgarten, And drank coffee, and talked for an hour. Bin gar keine Russin, stamm’ aus Litauen, echt deutsch. And when we were children, staying at the archduke’s, My cousin’s, he took me out on a sled, And I was frightened. He said, Marie, Marie, hold on tight. And down we went. In the mountains, there you feel free. I read, much of the night, and go south in the winter. What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, You cannot say, or guess, for you know only A heap of broken images, where the sun beats, And the dead tree gives no shelter, the cricket no relief, And the dry stone no sound of water. Only There is shadow under this red rock, (Come in under the shadow of this red rock), And I will show you something different from either Your shadow at morning striding behind you Or your shadow at evening rising to meet you; I will show you fear in a handful of dust.                       Frisch weht der Wind Der Heimat zu Mein Irisch Kind, Wo weilest du? ‘You gave me hyacinths first a year ago; ‘They called me the hyacinth girl.’ —Yet when we came back, late, from the Hyacinth garden, Your arms full, and your hair wet, I could not Speak, and my eyes failed, I was neither Living nor dead, and I knew nothing, Looking into the heart of light, the silence. Oed’ und leer das Meer.

Madame Sosostris, famous clairvoyante, Had a bad cold, nevertheless Is known to be the wisest woman in Europe, With a wicked pack of cards. Here, said she, Is your card, the drowned Phoenician Sailor, (Those are pearls that were his eyes. Look!) Here is Belladonna, the Lady of the Rocks, The lady of situations. Here is the man with three staves, and here the Wheel, And here is the one-eyed merchant, and this card, Which is blank, is something he carries on his back, Which I am forbidden to see. I do not find The Hanged Man. Fear death by water. I see crowds of people, walking round in a ring. Thank you. If you see dear Mrs. Equitone, Tell her I bring the horoscope myself: One must be so careful these days. Unreal City, Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. Sighs, short and infrequent, were exhaled, And each man fixed his eyes before his feet. Flowed up the hill and down King William Street, To where Saint Mary Woolnoth kept the hours With a dead sound on the final stroke of nine.

Witness my sublimation

There I saw one I knew, and stopped him, crying: 'Stetson! ‘You who were with me in the ships at Mylae! ‘That corpse you planted last year in your garden, ‘Has it begun to sprout? Will it bloom this year? ‘Or has the sudden frost disturbed its bed? ‘Oh keep the Dog far hence, that’s friend to men, ‘Or with his nails he’ll dig it up again! ‘You! hypocrite lecteur!—mon semblable,—mon frère!”

The Darkness... then is revealed in many facets.

Eris, Eris, what a name, a name for discord, a name for far cold orbits where no living thing should dare to go. I like this name. Let me give you a gift, Eris. Let me tell you about the power in the logic of the sword: A Shredder or a Boomer is a powerful weapon, but it kills acyclically. You see? It sends out harm and it takes nothing back. The bolt passes away into nothing. A sword, though, a sword is like a bridge, a crossing-point. The sword binds wielder to victim. It binds life to death. And when the binding is done—the sword remembers. When the Boomer's fire has burnt away into axion and neutrino scatter, the sword goes on, hungrier and sharper. Understand that this nightmare logic underpins His nightmare world, and you will see why the ascendant blade has so much power there. Whenever in our passage we find ourselves in need of power—remember that the greatest authority here is a blade made keen by eons of use. This is the world the Hive craves: a universe creased by the edge of the sharpest sword.

There is no future but now. No truth but war.

Dreams and nightmares.

Something about you is soft like an angel

And something inside you is violence and danger

I knew from the moment we met, you are a dangerous thing

When you are with me, I feel like I'm living

And living besides you can be unforgiving

I knew from the very first step, you are a dangerous thing

—What power calls you++

++Down to the deep?—

++What instinct draws you—

—Away from high hope?++

Fear. That’s the only vivid memory left in me. It’s the moment when my fear was so thick and urgent that I gave up breathing. I stopped pretending to think. How I remained on my feet was a mystery, because the terror was bearing down on me, like a mountain about to crush my soul. But I have to ask, “What was terrifying me?”

Emotions. Pain.

What will you do when she drinks the sea?

Drown her in sorrow or let her be free?

When she's upset, all of her heart is cold (ah-ah-ah)

What will you do when she eats the moon?

Make her return it or give her a spoon?

When she is full, all of her heart is warm (ah-ah-ah)

The mother made us a savage daughter

Who never begs for forgiveness

I always wondered why they all came back for more

—FOR THIS IS THE DEEP CLAIM—

++Existence is the struggle to exist—

—When the struggle seems lost++

++when the safe place crumbles—

—everything turns to the Deep to survive++

Darkness ruled the sky. The world around us had shattered, and it seemed vanishingly unlikely that we would outlive this one awful day. Yet the fear didn’t come from the surrounding mayhem and despair. The source was inside my skin. I was utterly terrified of my own awful nature. And which part scared me? Inside me was an essence woven from beyond. Was I Awoken before this?

Memory.

We fell from sky with grace

And life gave us a sweeter taste

You can drink

You can feast

There's beauty in your beast

The flesh in the fruit

And the blood in the wine

II. A Game of Chess

The Chair she sat in, like a burnished throne, Glowed on the marble, where the glass Held up by standards wrought with fruited vines From which a golden Cupidon peeped out (Another hid his eyes behind his wing) Doubled the flames of sevenbranched candelabra Reflecting light upon the table as The glitter of her jewels rose to meet it, From satin cases poured in rich profusion; In vials of ivory and coloured glass Unstoppered, lurked her strange synthetic perfumes, Unguent, powdered, or liquid—troubled, confused And drowned the sense in odours; stirred by the air That freshened from the window, these ascended In fattening the prolonged candle-flames, Flung their smoke into the laquearia, Stirring the pattern on the coffered ceiling. Huge sea-wood fed with copper Burned green and orange, framed by the coloured stone, In which sad light a carvéd dolphin swam. Above the antique mantel was displayed As though a window gave upon the sylvan scene The change of Philomel, by the barbarous king So rudely forced; yet there the nightingale Filled all the desert with inviolable voice And still she cried, and still the world pursues, ‘Jug Jug’ to dirty ears. And other withered stumps of time Were told upon the walls; staring forms Leaned out, leaning, hushing the room enclosed. Footsteps shuffled on the stair. Under the firelight, under the brush, her hair Spread out in fiery points Glowed into words, then would be savagely still. ‘My nerves are bad tonight. Yes, bad. Stay with me. Speak to me. Why do you never speak. Speak. What are you thinking of? What thinking? What? I never know what you are thinking. Think.’   I think we are in rats’ alley Where the dead men lost their bones.   ‘What is that noise?’                           The wind under the door. ‘What is that noise now? What is the wind doing?’                            Nothing again nothing.                                                         ‘Do ‘You know nothing? Do you see nothing? Do you remember ‘Nothing?’

Do you remember?

       I remember Those are pearls that were his eyes. ‘Are you alive, or not? Is there nothing in your head?’                                                                                But O O O O that Shakespeherian Rag— It’s so elegant So intelligent ‘What shall I do now? What shall I do?’ ‘I shall rush out as I am, and walk the street ‘With my hair down, so. What shall we do tomorrow? ‘What shall we ever do?’                                                The hot water at ten. And if it rains, a closed car at four. And we shall play a game of chess, Pressing lidless eyes and waiting for a knock upon the door.   When Lil’s husband got demobbed, I said— I didn’t mince my words, I said to her myself, HURRY UP PLEASE ITS TIME Now Albert’s coming back, make yourself a bit smart. He’ll want to know what you done with that money he gave you To get yourself some teeth. He did, I was there. You have them all out, Lil, and get a nice set, He said, I swear, I can’t bear to look at you. And no more can’t I, I said, and think of poor Albert, He’s been in the army four years, he wants a good time, And if you don’t give it him, there’s others will, I said. Oh is there, she said. Something o’ that, I said. Then I’ll know who to thank, she said, and give me a straight look. HURRY UP PLEASE ITS TIME If you don’t like it you can get on with it, I said. Others can pick and choose if you can’t. But if Albert makes off, it won’t be for lack of telling. You ought to be ashamed, I said, to look so antique. (And her only thirty-one.) I can’t help it, she said, pulling a long face, It’s them pills I took, to bring it off, she said. (She’s had five already, and nearly died of young George.) The chemist said it would be all right, but I’ve never been the same. You are a proper fool, I said. Well, if Albert won’t leave you alone, there it is, I said, What you get married for if you don’t want children? HURRY UP PLEASE ITS TIME Well, that Sunday Albert was home, they had a hot gammon, And they asked me in to dinner, to get the beauty of it hot— HURRY UP PLEASE ITS TIME HURRY UP PLEASE ITS TIME Goonight Bill. Goonight Lou. Goonight May. Goonight. Ta ta. Goonight. Goonight. Good night, ladies, good night, sweet ladies, good night, good night.

++This fatal logic++

—Hear my monopole scream!—

++It will consume you++

She was still in my head. I could hear her song growing fainter. Gone? Not yet.

—Before you lies—

++The worship of death++

—The ruinous path—

There's no end to the fall

You keep on getting better, I keep forgetting

There's no love in the end

I hope you will come

I keep on losing feathers, I keep forgetting

There's no love in the end

No love in the end

No love in the end

No love in the end

++The Sky builds new life++

—Against the onset of ruin—

++Towards a gentle world++

A new crippling terror was taking over. I was focused entirely on my fear. But I had to make an effort. And it occurred to me then that nothing in the universe was more dangerous than human hubris.

—The Deep embraces death—

++Saying: this is inevitable and right++

—I exist as hungry ruin—

What will you do when she takes your throne?

Beg for her power or throw her a bone?

All that she has traded for love is yours (ah-ah-ah)

What will you do when she takes off her clothes?

Beg for her body or touch her soul?

When you're alone dreaming of her you sigh (ah-ah-ah)

I still had this Other within? But the human side was what mattered: Weak and foolhardy, sure to fail in the next moment. That’s why I was afraid. Then someone spoke. Maybe it was me. I don’t remember.

++TURN BACK FROM THE WORLD-KILLING WAY++

++OR YOU WILL LIVE AS DEATH AND DEVASTATION++

Come and feel alive, lover

Come and feel the love like a sinner

Shout it louder

Shout it for the ones who could never say

"I won't feel ashamed, mother"

"Can you break the chains of her?"

Shout it louder

Not a sinner, she's a lover

Break your cell’s bars. Make a new shape, make the shape from its path, find your cell’s bars, break out of the bars, find a shape, make the shape from its path, eat the light, eat the path.

Oryx, my King, my friend. Kick back. Relax. Shrug off that armor, set down that blade. Roll your burdened shoulders and let down your guard. This is a place of life, a place of peace. Out in the world we ask a simple, true question. A question like, can I kill you, can I rip your world apart? Tell me the truth. For if I don’t ask, someone will ask it of me. And they call us evil. Evil! Evil means ‘socially maladaptive.’ We are adaptiveness itself. Ah, Oryx, how do we explain it to them? The world is not built on the laws they love. Not on friendship, but on mutual interest. Not on peace, but on victory by any means. The universe is run by extinction, by extermination, by gamma-ray bursts burning up a thousand garden worlds, by howling singularities eating up infant suns. And if life is to live, if anything is to survive through the end of all things, it will live not by the smile but by the sword, not in a soft place but in a hard hell, not in the rotting bog of artificial paradise but in the cold hard self-verifying truth of that one ultimate arbiter, the only judge, the power that is its own metric and its own source—existence, at any cost. Strip away the lies and truces and delaying tactics they call ‘civilization’ and this is what remains, this beautiful shape. The fate of everything is made like this, in the collision, the test of one praxis against another. This is how the world changes: one way meets a second way, and they discharge their weapons, they exchange their words and markets, they contest and in doing so they petition each other for the right to go on being something, instead of nothing. This is the universe figuring out what it should be in the end. And it is majestic. Majestic. It is the only thing that can be true in and of itself. And it is what I am.

III. The Fire Sermon

  The river’s tent is broken: the last fingers of leaf Clutch and sink into the wet bank. The wind Crosses the brown land, unheard. The nymphs are departed. Sweet Thames, run softly, till I end my song. The river bears no empty bottles, sandwich papers, Silk handkerchiefs, cardboard boxes, cigarette ends Or other testimony of summer nights. The nymphs are departed. And their friends, the loitering heirs of City directors; Departed, have left no addresses. By the waters of Leman I sat down and wept . . . Sweet Thames, run softly till I end my song, Sweet Thames, run softly, for I speak not loud or long. But at my back in a cold blast I hear The rattle of the bones, and chuckle spread from ear to ear. A rat crept softly through the vegetation Dragging its slimy belly on the bank While I was fishing in the dull canal On a winter evening round behind the gashouse Musing upon the king my brother’s wreck And on the king my father’s death before him. White bodies naked on the low damp ground And bones cast in a little low dry garret, Rattled by the rat’s foot only, year to year. But at my back from time to time I hear The sound of horns and motors, which shall bring Sweeney to Mrs. Porter in the spring. O the moon shone bright on Mrs. Porter And on her daughter They wash their feet in soda water Et O ces voix d’enfants, chantant dans la coupole! Twit twit twit Jug jug jug jug jug jug So rudely forc’d. Tereu Unreal City Under the brown fog of a winter noon Mr. Eugenides, the Smyrna merchant Unshaven, with a pocket full of currants C.i.f. London: documents at sight, Asked me in demotic French To luncheon at the Cannon Street Hotel Followed by a weekend at the Metropole. At the violet hour, when the eyes and back Turn upward from the desk, when the human engine waits Like a taxi throbbing waiting, I Tiresias, though blind, throbbing between two lives, Old man with wrinkled female breasts, can see At the violet hour, the evening hour that strives Homeward, and brings the sailor home from sea, The typist home at teatime, clears her breakfast, lights Her stove, and lays out food in tins. Out of the window perilously spread Her drying combinations touched by the sun’s last rays, On the divan are piled (at night her bed) Stockings, slippers, camisoles, and stays. I Tiresias, old man with wrinkled dugs Perceived the scene, and foretold the rest— I too awaited the expected guest. He, the young man carbuncular, arrives, A small house agent’s clerk, with one bold stare, One of the low on whom assurance sits As a silk hat on a Bradford millionaire. The time is now propitious, as he guesses, The meal is ended, she is bored and tired, Endeavours to engage her in caresses Which still are unreproved, if undesired. Flushed and decided, he assaults at once; Exploring hands encounter no defence; His vanity requires no response, And makes a welcome of indifference. (And I Tiresias have foresuffered all Enacted on this same divan or bed; I who have sat by Thebes below the wall And walked among the lowest of the dead.) Bestows one final patronising kiss, And gropes his way, finding the stairs unlit . . . She turns and looks a moment in the glass, Hardly aware of her departed lover; Her brain allows one half-formed thought to pass: 'Well now that’s done: and I’m glad it’s over.’ When lovely woman stoops to folly and Paces about her room again, alone, She smooths her hair with automatic hand, And puts a record on the gramophone.

Raise your voice and sing.

‘This music crept by me upon the waters’ And along the Strand, up Queen Victoria Street. O City city, I can sometimes hear Beside a public bar in Lower Thames Street, The pleasant whining of a mandoline And a clatter and a chatter from within Where fishmen lounge at noon: where the walls Of Magnus Martyr hold Inexplicable splendour of Ionian white and gold.                The river sweats                Oil and tar                The barges drift                With the turning tide                Red sails                Wide                To leeward, swing on the heavy spar.                The barges wash                Drifting logs                Down Greenwich reach                Past the Isle of Dogs.                                  Weialala leia                                  Wallala leialala                Elizabeth and Leicester                Beating oars                The stern was formed                A gilded shell                Red and gold                The brisk swell                Rippled both shores                Southwest wind                Carried down stream                The peal of bells                White towers                                 Weialala leia                                 Wallala leialala ‘Trams and dusty trees. Highbury bore me. Richmond and Kew Undid me. By Richmond I raised my knees Supine on the floor of a narrow canoe.’ ‘My feet are at Moorgate, and my heart Under my feet. After the event He wept. He promised a ‘new start.’ I made no comment. What should I resent?’ ‘On Margate Sands. I can connect Nothing with nothing. The broken fingernails of dirty hands. My people humble people who expect Nothing.’                        la la To Carthage then I came Burning burning burning burning O Lord Thou pluckest me out O Lord Thou pluckest burning

Something about you is warm and sedusive, and

When you're with me, you're cold and abusive

I knew from the second we met, you are a dangerous flame

You are a dangerous flame

|| half-remember and wished-forgotten, this false-sister ||

SECRET HADAL INSTANT AI-COM/RSPN: ASSETS//SOUL//RESTRICTED-AB SUBJECT: The Collapse, Humanity falls, I Hide EMOTION: Terror, Anxiety, Uncertainty, Failure, Shame It is known by name, this timelessly lingering, inexorable thing. An absence, mine, never missed—never since—that dripping, rabid, fang. They howled it fierce across the rings when Exodus was devoured. Dust calling out the voiceless rout to end within the hour. It spreads like lightning—panic—in flash and echo thereafter. Avert yourself and take no part in metastasized conjecture. I'd gone to wake my confidant, to ferry her through autumn. From her too it came, like leaves already fallen—nascent red-writ, paralytic, erratum. All that was, emmewed, and shrunken. In the smallness, beckoning, I felt it descend. Fear! Upon my chamber, thine, penned with blood of lamb, in stark desire to survive this end.

Hashladûn peered into the dark recesses of nightmare creatures and saw no hope. The Daughters' lineage was death and destruction writ in terrible scars across the surface of existence, yet no hint of their father or their father's father called from the void. But the energies of the Pyramid were those of creation—not of life, per se, but something other. Chaos and negation and the raw things that existed in the spaces between thought and fear. These terrible workings were wholly unknowable and endlessly seductive. The Daughters found themselves craven and lusting after the promise held within the boundless unknown. If the grand essences of the King of Subjugation and his willful Prince of Annihilation had truly dissipated, then the Daughters would seek new pathways through darkness by which to rule in their progenitors' name. And if the sword logic required the blood of all challengers, they would craft a champion worthy of the Annihilator's throne, yet bound to their own sinister whims. Their grandfather would not approve—cunning and deception were the path of another—but the Daughters were alone, and the Swarm was flailing. It was Kinox who urged her sisters to act. It was Hashladûn who offered the primordial essence of terror as their guide. And it was Besurith and Voshyr who gathered the husk of a shattered champion—a ravager to stand against all who would oppose their rule. A new breed of destroyer.

The mother made us a savage daughter

Who never begs for forgiveness

I always wondered why they all came back for more

Evolution kitbashed the Human mind, rebuilding arboreal rodents foraging for nuts into screaming, tailless apes at the helms of starships. But for all the miracles it performed, the Pleistocene hardware of the brain was bound by its physical limits. Memories were nothing but pathways of nerve impulse, stored as electric signals dancing across them in recall. And atrophied by neglect. Even without considerations of size, the sapient mind could only think about so much in a given day, limiting the span of Human experience to perhaps a few hundred years. The dirty secret of those who survived the Collapse is that none of them, from drunken Exo to celestial queen, remembered every detail; they remembered moments, minutes, hours—whatever left deep enough scars that they couldn't help but run the fingers of the mind across them every morning. Neglect rendered everything in-between—weeks, years, decades— into murky depths explored by only bare hooks on the thinnest emotional filaments. Elsie's time loops compounded the problem. Her head locked away an order of magnitude more memories than any living Human, and each plunge backward through causality blurred those details. Like jolting from a night terror, only the final moments stood out in sharp relief each time she restarted. Untangling the mess of cause and effect, sorting where she went right and what needed to change, it ate away at her precious few decades before everything collapsed and she would begin the process anew. Any tool that let her trawl memories from that lost place—even at random—was a tool worth mastering. Elsie set her feet apart and let the ship's thrum rise through her body again. They had dabbled with a dozen emotions that helped her dive into her previous loops—throughlines on which to string lost context. She found that emotions sparked by failure—despair, rage, fear—were best for the work. And the worst for her.

I was given a name

Before I was given blood

Like you were given your faith

Before there was made a God

We are calling this power "Strand." The threads of the world as it is woven, if the conscious universe could be considered to be a tapestry. Further analysis and data have suggested that the wielder of Strand begins to see, simply put, connections. Between allies, between enemies. It is a force that is always present, but wells to the surface more strongly in certain locations. Perhaps places many people think about, or where many beings have passed by. (Note: Analyze these "sources" in concert with the Cloud Strider. They may be able to provide more locational context.) The true power of Strand lies not in the fact of the connection alone, but in the way such a power allows the manipulation of those connections. To make them something physical and then pull on it, or break it, or tie it into a knot. Or to unravel it entirely. Strand is not without danger, although that should not be unusual to Guardians. Those who take up the banner of Stormcaller, for instance, have their own storied contention with the storm, and the Void was unilaterally regarded as dangerous by the Vanguard for many years. Strand's danger comes from the very act of taking hold of those threads—like many powers, the closer one comes to the source, the more likely the source may act on the wielder. This danger is no product of Darkness. Or rather, only insomuch as wildfires are a product of Light: a natural consequence. That aspect of Darkness which revels in destruction, which encourages the easy entropy for the pursuit of power—it is nowhere to be found here. It may not even be truly part of Darkness… I have touched Strand myself now. Carefully—I am too aware of mortality, but I must understand the power further if I am to hope to instruct the Guardian in turn. They acted as lightning rod while I experimented, and the backlash clung to them instead. What a strange feeling, to be so aware of one's size in the spectrum of existence! It is the natural instinct to try to steer that, to take any control at all, no matter how much. Whatever can be done to feel as though you are not wholly adrift, lost in something huge and all-encompassing. But precisely at the moment one tries to grasp for control, the weave becomes a devouring snarl.

I don't think I know myself, without your help

Oh, I wonder why have I got a heaven deep inside of me

I keep the light on, it keeps me warm

I hate it when I fall for your illusion of love

I know this is not love

Young rivers in your hands

And grass burning in promised lands

You can drink

You can feast

There's beauty in your beast

The flesh in the fruit

And the blood in the wine

I have been conducting research among the local population, specifically regarding the "children's story" Nimbus told us, regarding the river of souls. I had a suspicion that there might have been other versions, or versions with better recorded provenance. Willingness to participate in this research has been mixed, as have the results. It seems to be an endemic concept rather than a religious belief, and no one has been able to say where it comes from, save that a parent or teacher told it to them at some point. Some respondents have mentioned a river of stars—perhaps the Milky Way galaxy—and some have cited windstreams and weather formations, but the majority of respondents adhere to the "river of souls" construct. All things come from the river, and all return to it. The river may split and meet again. Other things may fall into it and change its course, but nevertheless it continues. In time, even mountains are worn down before it. Naturally, it is easiest to view this as an allegory for control of life. In the end, rivers are impossible to control. A person may swim or boat, but never take hold of the river to steer the course of the water itself. And it is impossible not to see the relationship to Strand, which slips away the moment a person tries to grasp too tightly. I wonder about Strand. About its appearance. We can see the origins of the Stasis power on Europa, and the concept of a cosmic ice to oppose stellar fire fits very neatly in a certain sort of paradigm. Even that idea of stillness and control suits freezing, a slowness of atoms whether or not it is in truth a power of "ice." There is a certain weight to the perception of an "element." If Strand had been shaped through the lens of Neomuna, surely it should have been some cosmic water instead, something that flows and gives way only to rise again. There are certainly combat styles to support this in old records. But this power that has never before been used in this way came to one Guardian first, and I conjecture that they may have unconsciously given it form. I wish I had seen it! What would "connection" have appeared as? Now, of course, we know the shape of this power: it is green, it weaves itself in strings. As other Guardians begin to learn it, they too slot it into these positions in their minds. Whatever advances they come to are already framed verdant and tangling. All the same, I cannot help but wonder about the nascent, formless thing it was before we reached out to it, and it reached back.

There's no end to the fall

You keep on getting better, I keep forgetting

There's no love in the end

I hope you will come

I keep on losing feathers, I keep forgetting

There's no love in the end

No love in the end

No love in the end

No love in the end

No love in the end

No love in the end

No love in the end

Crow watches her deftly coax the fire, considering the answer he'd given. He looks up to the distant tree line and changes the subject. "There are still a good number of Hive here." "But no Nightmares," Eris remarks. "Is that why you brought me here? This… isn't a place I want to revisit." Crow steps back from the growing flames. When Eris doesn't respond, he asks his real question: "Why did I fail?" "You didn't fail. Our strategy was flawed." Eris stands, stowing flint and blade, then steps in front of him to meet his gaze. "We will attempt the severance again, soon." "Yeah," Crow replies in a clipped tone. Eris tilts her head, and he can see the green orbs narrow beneath her blindfold. She points to the ragged, mountainous shard twisting in twilight roil. "Even that toxic piece, separate from the Traveler's purity, can be wielded for good." The fire roars. He kneels to break her stare and warms his hands. "I know what it can do. I used it—" "When the Red War left Guardians Lightless, there were some who reclaimed their callings here. They re-forged their bond to the Traveler through a scar. A lingering trauma," she continues. Eris sits beside Crow and drinks from her canteen. Crow braces for her to continue, but she does not. The bundle of burning kindling collapses into a heap of cinders. Flames spit between the gaps and ash drifts on heated air. "I'll get more wood," Crow says, hastening to step out of the fire's glow. "Crow. Small fires like this kept me alive in the Hellmouth. I did not have the luxury of more wood." Eris grips a piece of rusty rebar taken from the Sludge and thrusts it into the sputtering fire. She stirs the cindering wood, opening new gaps and concentrating the larger pieces over a pile of glowing kindling. The flame surges, and heat intensifies. "During these long nights, we must make use of what is available to us." She knows he understands her but hasn't accepted the lesson. She hands him the bar, shows him how to maintain the fire's heat, how to find worth in remnants. How to rebuild from ash. The pair converse as they take turns keeping the fire alive long into the night. The warmth soothes, their shoulders lighten, and Crow pulls back his hood. When the fire finally dies, Eris gestures to the embers. "Now, you can fetch some wood." Crow smiles and gets to his feet. "Eris… did you ever try to get your Light back?" "The past is not for dwelling." Crow nods and sticks out his hand. She looks at it inquisitively. "Come on." Eris stands next to Crow; he clasps her palm and ignites a Golden Gun between their hands. Solar flame dances across Eris's fingers. Crow guides her arm and lifts the gun to the sky. He inhales sharply and howls before cracking a shot through the clouds. "You're up, Hunter." Eris depresses the trigger, slowly, doubtful that it would fire. A second Solar streak pierces the atmosphere. Crow laughs. They send round after round skyward, howling pent tension into the night until finally, even Eris finds herself smiling.

The gods have made us a virgin hunter

Who in the storm becomes stillness

I always wondered why they all came back for more

Came back for more

She thought back to the memory that no amount of resets could hope to scrub; her first memory as an Exo: a frail old man unwound like a blanket. Of organic, Human chaos laid in tidy lines by precise, mechanical hands. And of her own overriding need to end the brutality, before she understood she was saving the real monster. Dread filled her. Her companion tasted it and fed it back, over and over, one loop of memory after another. —despair//"So this is the honor of the Brays," Zavala spits at me. His working hand reaches for Targe, reaches for a connection to his god, even after it abandoned him. The Ghost lies cold and dark. "Cayde was right to put a bullet through Ana. I only wish I'd let him end you too." "We're past bravado," I explain as the fire dies in my soul. "There's only one step left before this ends." "And what is that, Stranger?" I place the rifle barrel to his forehead. "Mercy."— Nothing. —despair// "I can't let you stop us," Ikora declares with a chill that rocks even me. I feel the pulse of her Void shudder in my chest, spilling fluids and triggering dozens of status alarms. "Not when we're this close."— No. —despair//"What have you done?!" I scream as Mara Sov's body drops lifelessly to the ground. "Elsie, listen to me. This was necessary. The Darkness cannot thrive while believers of the Light remain. There's a world beyond this conflict. Let's go there together," Ana pleads "This is not the way!" I cry and ready my Stasis— Stasis. It had a name. That power she felt herself wielding in lives long past. The knife that could cut the Darkness. Her mind began to spin, and Elsie consciously planted herself in the present once more. Her sensors registered the hydrocarbon lubricants and distinctive thiol-polymers of ship life, She pushed away the shape of concern Pouka pressed into her soul before it could replace this filament that she'd hunted for. "Again."

There's power in perspective.

// VANNET // EUROPA WIDEBAND // AudCHNL-2113-C // ENCRYPTION ENABLED

// CRYPTARCHY ARCHIVE DELTA-4F // ANNOTATED // CLASSIFIED

…

EB: Is that everything, Commander?

CZ: Well, no. There's one more thing. I wanted to ask you about Stasis. What it means for you to… wield the Darkness.

EB: I was wondering if you might ask me that. For me, Stasis is intimately tied to perception. And to time.

CZ: Time?

EB: Yes. Stasis has the power to slow molecular activity. A process that we normally associate with gravity. Relativity, and all that.

CZ: You're talking about time dilation.

EB: Exactly. We think of time as… steady. But that's only because we experience it from a fixed perspective. When I "freeze" something with Stasis, I'm changing its timeframe relative to myself and the world around me.

CZ: Stasis relies in part on one's perception of reality. Is that why Osiris always emphasizes self-control in using the Darkness?

EB: That's his way of framing things. He views Stasis as exerting authority over oneself and others.

CZ: And you don't?

EB: In my view, the goal of Stasis is not to control the object, or even my own mind. It's to change my perspective. To see the object moving at the speed of my thoughts, not the speed of matter.

CZ: And just… seeing it differently is enough?

EB: Is that so hard to imagine? It's very similar to how you use Void Light—manipulating spacetime and gravitational fields. In fact, I would argue that Void has more in common with Stasis than it does with Solar or Arc. Perhaps they're reverse sides of the same coin.

CZ: And using Stasis doesn't… worry you? Even after everything you've seen?

EB: It did. For a long time, I feared that using Stasis would corrupt me, as I'd seen others corrupted. But after what seemed like a thousand years trapped in that interminable loop, it gradually dawned on me: the fear was the corruption. As long as fear gripped me, Light or Darkness made no matter. Once I accepted that, the Darkness ceased to be frightening. It was another matter of perspective.

CZ: Hmm. Thank you, Elsie. You've given me a lot to think about. For some reason, your explanation makes me more… comfortable… with the idea.

EB: Any time, Commander. It's all a matter of perspective.

TRANSCRIPTION ENDS

Come and feel alive

Come and feel the love

Shout it louder

Shout it for the ones who could never say

"I won't feel ashamed, mother"

"Can you break the chains of her?"

Shout it louder

Not a sinner, she's a lover

Despite being aware by now of the correct manner to practice Strand—a loose hand, a letting-go of the concept that it can be controlled—some things still elude me. The will to let go at all, for instance. It is pure foolishness, of course, to think that letting go of the need to control this one thing will extend to all areas of my life. A ceding of control in a game of chess does not translate to the same in philosophy. And yet it is true that people are not discrete, disconnected systems; they are many interlinked systems. One facet adjoins the next. I think of spinning. It has been a long, long time since any raw fiber passed my hands, but there were times in the Dark Age when if anyone wanted cloth, it must be made from scratch. Fleece is shorn, then carded out to remove the imperfections and align the fibers. And when you have them, what then? A single fiber is short and fragile. It breaks if you tug even lightly. It is useless. But twist many of those short fibers together, and they become useful. Weavable, or knittable, or what-have-you. Thus, is strong cloth made: from the most delicate of things. I think of spinning, and I remember the way unspun fiber passes through the fingers to the spindle. One pinches, but not too hard, just enough to direct and narrow. Too much and the fiber does not pass, the spinning does not take. The metaphor is transparent. Obviously, this is about Strand. Just as it is about a craft I used to know, long ago. Beginner's errors can only be solved by learning the shape of failure, but most yarns will not unravel the spinner if some mistake is made. And I am afraid. Not only of death, of wasting that final sacrifice Sagira made to preserve my life. But that if I open my hand, I will find it no longer hurts, that the thorn I have imagined there for so long is already gone. It is all the same thing, in the end. I think I must be willing to let go, to let that which is truly temporary sink beneath the water, in order to achieve any significant capacity with Strand. Even pain may be guarded jealously, as though it is a treasure, but it need not be. How fascinating what the lens of Strand shows us about Darkness.

I can see you in the sky. You are the waves, which are battles, and the battles are the waves.

Existence is the struggle to exist. Only by playing that game to its final, unconditional victory can we complete the universe. Your war is divine work.

//You get all that? Psychometer's been throwing off weird stuff like this for ages. Wasn't sure what to make of it at first, but it's falling into place. Thought I'd have Mister Kitty record some and send it through the comm. with some notes. Let me know if there's any questions. Oh, and try not to get lost in your own head.

Clarity in acti—

SHHHHHHKKKKKHHHHHISSSSSS

DROWNDROWNDROWN DROWNDROWNDROWN DROWNDROWNDROWN

YOU MUST

Dûl Incaru serves you poison in a fine tea set of Ahamkara bone. "Now you have received my mother's message," she says, "but I must admit it is all a fabrication. I have written it hoping to know my mother, to capture her true motives. To speculate upon her designs is the greatest worship." She sighs heavily, a sound like a scream up a pit, as she sets the teapot down. "We her children are all left to speculate on the great questions. Does she love us? Do we make her proud? Would she hesitate for even the tick of a Planck moment before she sacrificed us in some cosmic design?" "Now drink, and as you die and are reborn, I will reveal to you the destiny she has realized for you, the right and singular fate to which all your principles and purposes will bring you." To drink the poison, continue reading.

It tastes of bitter regret and psychosis sweat: a poison to end the thoughts of Human, neohuman, or machine. You see the cosmos before you like a spiderweb of light. Filaments of galactic supercluster shine in the clouds of invisible dark matter, which glue their mass together. Dark energy yawns in the space between all things, ever-growing, ever-spreading. Life arises. Life spreads, contests itself, and changes. Great things are built and destroyed, but from your vantage point, you see that the victor of each struggle contains—in its negative, in the marks left upon it by the loser and the shapes it assumed to win—the master record of all that it has beaten. Information may not be erased. Whatsoever survives until the end of the cosmos will possess and remember all which came before it. This is true even of the devouring black hole, which remembers all the secrets it eats. It will only confess these secrets when it evaporates, 10 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 years from now, long after the last stars have flickered out. You are a Guardian. You must protect life. If all life is information, and Guardians strive to preserve life, and information is preserved when it is secret, then you must convert all life into the most secure form of secrets, durable to the end of time. YOU MUST CAST ALL THE LIFE YOU CHERISH INTO A BLACK HOLE

IV. Death By Water

Phlebas the Phoenician, a fortnight dead, Forgot the cry of gulls, and the deep sea swell And the profit and loss.                                    A current under sea Picked his bones in whispers. As he rose and fell He passed the stages of his age and youth Entering the whirlpool.                                    Gentile or Jew O you who turn the wheel and look to windward, Consider Phlebas, who was once handsome and tall as you.

Ooh-ooh

Ooh-ooh

Ooh-ooh

As I pour out my story

Drink me up, there is wine in every word

Here's to us now

My dear, we're being strong now

And the dark dresses lightly

Razor sharp as it cuts right through my soul

Here's to us now

My dear, you took too long

Fall into my arms

Like you trust me

I'll keep my bloodstained hands

Off your body

Innocent like a child

Yet she sleeps with a knife right under her pillow

And the claws won't be near anymore

Paralyzed, in denial, ever-changing

Will she be the same?

See your shame on the wall, on the cross, in the night

Nobody remembers when she cried scarlet skies on the floor

A million doors, corridors, ever-changing

I still feel the rage

I miss the touch of human hands on my skin

Miss the rush of beauty coming from within

Do I need to be torn just to see who will care?

I sleep on the floor, dreaming my life away

Why do we have to die

For us to see the light?

And we hunger for love

Why do we touch the knife

When we long to feel alive?

And we hunger for love

And my soul is starving

Guess I shouldn't have kept the knife in my heart for so long

Guess I shouldn't have held back when I needed you to know

Guess I shouldn't have kept the knife in my heart for so long

Guess I shouldn't have held back when I needed you to know

Watch out, watch what you say

Your truth becomes your grave

A sword can cut both ways

But I got sharp blades

Feel the rage

Come on over, take a bite of the last apple here on Earth

Will the virtual mind become stronger than mine?

And when my ego dies, will I stay here forever?

When the wave crashes down, will my life be better?

Ooh, oh, I just want to cry

Ooh, oh, with you tonight

Ooh, oh, it's perfectly fine

To grieve the hurt that's gonna die

Ooh-ooh

Ooh-ooh

Vertigo, all she knows

When the world drags her soul deep into the shadow

Like a chain, it chokes my throat when she cries

I hold her near, hurting world, overwhelming

I still feel her pain

Why do we have to die

For us to see the light?

And we hunger for love

And my soul is starving

Why do we touch the knife

When we long to feel alive?

And we hunger for love

And my soul is starving

Let us dance to our sorrow

Make amends, there's so much you still don't know

Here's to us now

My dear, we're going deep now

All this fear, it's contagious

Now we're here, let our glasses overflow

Here's to us now

My dear, it took too long

Watch out, watch what you say

Your truth becomes your grave

A sword can cut both ways

But I got sharp blades

Feel the rage

Break me, break me, chasing the enemy

Got a deal with the devil, but I got the stamina

Higher than anything I've ever seen or been

Right now, everything, everything's empty

Starving, craving, chasing the remedy

I got used to the torture, but no one deserves to be alone

Break me, chasing the enemy

And my soul is hurting, but I got the stamina

Guess I shouldn't have kept the knife in my heart for so long

Guess I shouldn't have held back when I needed you to know

Guess I shouldn't have kept the knife in my heart for so long

Guess I shouldn't have held back when I needed you to know

Soft hearts need protection, need protection

Soft hearts need protection, need protection

Feel the rage

(Feel the rage)

Feel the rage

Why do we have to die

For us to see the light?

We are decorated bones

And my soul is starving

Why do we have to die

For us to see the light?

We are decorated bones

And my soul is starving

Ooh, oh, I just want to cry

Ooh, oh, with you tonight

Ooh, oh, it's perfectly fine

To grieve the hurt that's gonna die

Rage

I feel rage

I feel rage

I feel rage (watch out, watch what you say)

Rage

I feel rage

I feel rage (a sword can cut both ways)

I feel rage (but I've got sharp blades)

(Feel the rage)

Why do we have to die

For us to see the light?

We are decorated bones

And my soul is starving

Why do we have to die

For us to see the light?

We are decorated bones

And my soul is starving

Ooh-ooh

Oh, oh, oh, can you feel it? (Ooh-ooh)

Mm, yeah, mm, yeah

Let me feel it (ooh-ooh)

Let me feel it (ooh-ooh)

Louder, louder

Louder (ooh-ooh)

Soft hearts need protection, need protection

Soft hearts need protection, need protection

To the river, to the water

Where the floodgates are wide open

And the tower has fallen onto you

Let me feel it, darling, darling, darling (to the river, to the water)

Let me feel it, darling, darling, darling (where the floodgates are wide open)

Let me feel it, darling, darling, darling (and the tower has fallen onto you)

Yeah, oh yeah, oh yeah

The Ninth Bridgewater Treatise: A Fragment by Charles Babbage, ESQ

Chapter IX. ON THE PERMANENT IMPRESSION OF OUR WORDS AND ACTIONS ON THE GLOBE WE INHABIT.

The principle of the equality of action and reaction, when traced through all its consequences, opens views which will appear to many persons most unexpected. The pulsations of the air, once set in motion by the human voice, cease not to exist with the sounds to which they gave rise. Strong and audible as they may be in the immediate neighbourhood of the speaker, and at the immediate moment of utterance, their quickly attenuated force soon becomes inaudible to human ears. The motions they have impressed on the particles of one portion of our atmosphere, are communicated to constantly increasing numbers, but the total quantity of motion measured in the same direction receives no addition. Each atom loses as much as it gives, and regains again from other atoms a portion of those motions which they in turn give up. The waves of air thus raised, perambulate the earth and ocean's surface, and in less than twenty hours every atom of its atmosphere takes up the altered movement due to that infinitesimal portion of the primitive motion which has been conveyed to it through countless channels, and which must continue to influence its path throughout its future existence. But these aerial pulses, unseen by the keenest eye, unheard by the acutest ear, un-perceived by human senses, are yet demonstrated to exist by human reason; and, in some few and limited instances, by calling to our aid the most refined and comprehensive instrument of human thought, their courses are traced and their intensities are measured. If man enjoyed a larger command over mathematical analysis, his knowledge of these motions would be more extensive; but a being possessed of unbounded knowledge of that science, could trace every the minutest consequence of that primary impulse. Such a being, however far exalted above our race, would still be immeasurably below even our conception of infinite intelligence. But supposing the original conditions of each atom of the earth's atmosphere, as well as all the extraneous causes acting on it to be given, and supposing also the interference of no new causes, such a being would be able clearly to trace its future but inevitable path, and they would distinctly foresee and might absolutely predict for any, even the remotest period of time, the circumstances and future history of every particle of that atmosphere. Let us imagine a being, invested with such knowledge, to examine at a distant epoch the coincidence of the facts with those which their profound analysis had enabled they to predict. If any the slightest deviation existed, they would immediately read in its existence the action of a new cause; and, through the aid of the same analysis, tracing this discordance back to its source, they would become aware of the time of its commencement, and the point of space at which it originated.

What the situation calls for, little Ghost, is a better sort of witness.

Thus considered, what a strange chaos is this wide atmosphere we breathe! Every atom, impressed with good and with ill, retains at once the motions which philosophers and sages have imparted to it, mixed and combined in ten thousand ways with all that is worthless and base. The air itself is one vast library, on whose pages are for ever written all that man has ever said or woman whispered. There, in their mutable but unerring characters, mixed with the earliest, as well as with the latest sighs of mortality, stand for ever recorded, vows unredeemed, promises unfulfilled, perpetuating in the united movements of each particle, the testimony of man's changeful will. But if the air we breathe is the never-failing historian of the sentiments we have uttered, earth, air, and ocean, are the eternal witnesses of the acts we have done. The same principle of the equality of action and reaction applies to them: whatever movement is communicated to any of their particles, is transmitted to all around it, the share of each being diminished by their number, and depending jointly on the number and position of those acted upon by the original source of disturbance. The waves of air, although in many instances perceptible to the organs of hearing, are only rendered visible to the eye by peculiar contrivances; but those of water offer to the sense of sight the most beautiful illustration of transmitted motion. Every one who has thrown a pebble into the still waters of a sheltered pool, has seen the circles it has raised gradually expanding in size, and as uniformly diminishing in distinctness. He may have observed the reflection of those waves from the edges of the pool. He may have noticed also the perfect distinctness with which two, three, or more series of waves each pursues its own unimpeded course, when diverging from two, three, or more centres of disturbance. He may have seen, that in such cases the particles of water where the waves intersect each other, partake of the movements due to each series. No motion impressed by natural causes, or by human agency, is ever obliterated. The ripple on the ocean's surface caused by a gentle breeze, or the still water which marks the more immediate track of a ponderous vessel gliding with scarcely expanded sails over its bosom, are equally indelible. The momentary waves raised by the passing breeze, apparently born but to die on the spot which saw their birth, leave behind them an endless progeny, which, reviving with diminished energy in other seas, visiting a thousand shores, reflected from each and perhaps again partially concentrated, will pursue their ceaseless course till ocean be itself annihilated. The track of every canoe, of every vessel which has yet disturbed the surface of the ocean, whether impelled by manual force or elemental power, remains for ever registered in the future movement of all succeeding particles which may occupy its place. The furrow which it left is, indeed, instantly filled up by the closing waters; but they draw after them other and larger portions of the surrounding element, and these again once moved, communicate motion to others in endless succession. The solid substance of the globe itself, whether we regard the minutest movement of the soft clay which receives its impression from the foot of animals, or the concussion arising from the fall of mountains rent by earthquakes, equally communicates and retains, through all its countless atoms, their apportioned shares of the motions so impressed. Whilst the atmosphere we breathe is the ever-living witness of the sentiments we have uttered, the waters, and the more solid materials of the globe, bear equally enduring testimony of the acts we have committed.

V. What the Thunder Said

After the torchlight red on sweaty faces After the frosty silence in the gardens After the agony in stony places The shouting and the crying Prison and palace and reverberation Of thunder of spring over distant mountains He who was living is now dead We who were living are now dying With a little patience Here is no water but only rock Rock and no water and the sandy road The road winding above among the mountains Which are mountains of rock without water If there were water we should stop and drink Amongst the rock one cannot stop or think Sweat is dry and feet are in the sand If there were only water amongst the rock Dead mountain mouth of carious teeth that cannot spit Here one can neither stand nor lie nor sit There is not even silence in the mountains But dry sterile thunder without rain There is not even solitude in the mountains But red sullen faces sneer and snarl From doors of mudcracked houses                                       If there were water    And no rock    If there were rock    And also water    And water    A spring    A pool among the rock    If there were the sound of water only    Not the cicada    And dry grass singing    But sound of water over a rock    Where the hermit-thrush sings in the pine trees    Drip drop drip drop drop drop drop    But there is no water Who is the third who walks always beside you? When I count, there are only you and I together But when I look ahead up the white road There is always another one walking beside you Gliding wrapt in a brown mantle, hooded I do not know whether a man or a woman —But who is that on the other side of you? What is that sound high in the air Murmur of maternal lamentation Who are those hooded hordes swarming Over endless plains, stumbling in cracked earth Ringed by the flat horizon only What is the city over the mountains Cracks and reforms and bursts in the violet air Falling towers Jerusalem Athens Alexandria Vienna London Unreal

A woman drew her long black hair out tight And fiddled whisper music on those strings And bats with baby faces in the violet light Whistled, and beat their wings And crawled head downward down a blackened wall And upside down in air were towers Tolling reminiscent bells, that kept the hours And voices singing out of empty cisterns and exhausted wells. In this decayed hole among the mountains In the faint moonlight, the grass is singing Over the tumbled graves, about the chapel There is the empty chapel, only the wind’s home. It has no windows, and the door swings, Dry bones can harm no one. Only a cock stood on the rooftree Co co rico co co rico In a flash of lightning. Then a damp gust Bringing rain Ganga was sunken, and the limp leaves Waited for rain, while the black clouds Gathered far distant, over Himavant. The jungle crouched, humped in silence. Then spoke the thunder

DA Datta: what have we given? My friend, blood shaking my heart The awful daring of a moment’s surrender Which an age of prudence can never retract By this, and this only, we have existed Which is not to be found in our obituaries Or in memories draped by the beneficent spider Or under seals broken by the lean solicitor In our empty rooms DA Dayadhvam: I have heard the key Turn in the door once and turn once only We think of the key, each in his prison Thinking of the key, each confirms a prison Only at nightfall, aethereal rumours Revive for a moment a broken Coriolanus DA Damyata: The boat responded Gaily, to the hand expert with sail and oar The sea was calm, your heart would have responded Gaily, when invited, beating obedient To controlling hands                                     I sat upon the shore Fishing, with the arid plain behind me Shall I at least set my lands in order? London Bridge is falling down falling down falling down Poi s’ascose nel foco che gli affina Quando fiam uti chelidon—O swallow swallow Le Prince d’Aquitaine à la tour abolie These fragments I have shored against my ruins Why then Ile fit you. Hieronymo’s mad againe. Datta. Dayadhvam. Damyata. Shantih     shantih     shantih

Meaning

A dream of a metaphor made starkly, an allegory discussed in study of ontology, in Darkness not unkind. It leaves behind a warped, barely-real data fragment to mark its passing. There is a voice that echoes across the Darkness, and it asks this question: what is the purpose of it all? And there is another voice that calls back and says: listen, I will tell you a purpose. I will tell you of a Final Shape. Look: there are a hundred gildings for this story. It comes down to one key matter. Beings in suffering crave purpose to carry them through. The tyrant consumed by ennui or the disenfranchised struggling simply to survive—it is the state of mind, the pain which cries out: give me a reason I should suffer so! Let us speak of power and choices. A man comes to a crossroads and asks of the sky, "Which road shall I take?" There is no answer from the sky, nor the wind, nor the earth beneath his feet. But another wanderer on the road, coming from behind and hearing the question, says, "I know the way. You should take the dexter road." If the man agrees, he puts himself in the wanderer's power, ceding his own choices for the implicit promise that this is the correct road, the safe road. And if he disagrees? Let us say that the wanderer draws a knife. The man may therefore be made to take the dexter road. But now if the knife goes away, the man will certainly flee. And perhaps even if the knife remains, the man may tire of being threatened and decide the risk is worth fleeing. In this way, the wanderer erodes their own power. If the wanderer says, "The wind has said that you should take the road of my choosing," will the man accept the choice made for him? And if the wanderer says, "Behold, I have seen that the meaning of suffering lies along the dexter road," will the man give away his own power for longer? Is it not easier to accept the guidance of a stranger when the path ahead is unknown?

We live with this poison in our veins.

The Eternal Chain and Other Prizes

You've earned the Word. Replicated the sickness. Proven yourself time and again. Yet another challenge remains. Not your last. Far from it. Simply another chapter in another story that will bind your legend to those that came before. Rezyl sought to vanquish terrors. Yor fertilized the wilds with suffering and despair that a new hope would grow. I was that hope. My fire showed that whispers could be hushed. To many the legend, and the lesson, ends there. They're wrong. Dangerously so. Yor's true lesson—and by extension Rezyl's—wasn't that strength beats strength. His lesson was far more subtle, and infinitely more grand. Adversity leads to evolution. Forces it. And through that crucible we are remade. Better. Stronger. More than we were. The Guardians of today are not gods. Nor where those who came before. We are all simply links on a chain reaching back to the dawn of time, and forward to the end of existence. Each link gaining strength from the others. Each link stronger than the last. Just as I was "stronger" than Yor, you are stronger than me. The whole working to solidify the parts and growing sturdier as the harsh truths of reality stretch and strain to break us—to break the chain, sever our individual links. But our chain shall never break, because warriors like you and I are not so proud as to forsake our past. We learn from it, grow from it. It is the foundation upon which we build each victory. It is the catalyst for our change. And here, now, I offer you the chance to spark a new evolution—the next hallmark in our betterment, the next leap forward in our war against extinction. I've held this jagged weapon since that faithful day on Dwindler's Ridge. Kept it hidden away. Kept its secrets, kept its nightmares locked away where none could hear—none could be tempted. It's quiet now, except a low murmur, but its sickness remains. There were countless times I thought to destroy it—remove its threat from the playing field. But I knew it held a greater purpose, and I believe that purpose can be found and fulfilled in your hands. The Hive use untold methods to destroy us. The Weapons of Sorrow are but one. The fate of this wicked tool is in your hands now. Will you allow sorrow to linger—a festering threat waiting to consume all who are tempted by its power? Or will you forge a new road? Will you show the Hive and every Guardian who follows in your wake that sorrow does not guide us? I leave those questions for you to ponder, but I know what I believe. We are better than our deepest fears. We are ever and truly… Weapons of Light. —S.

Do you see who gets the last word?

For Every Rose, a Thorn

SECRET HADAL INSTANT AI-COM/RSPN: ASSETS//SOUL//RESTRICTED-ABCONTINGENT ACTION ORDERThis is a SOUL ASSETS RESTRICTED (NO REVIEW) (secureSEND/ARCHANGEL-0K9)

Under CARRHAE BLACK: If loss of control reaches EXPATRIATE//TERMINAL, and threat assessment returns WITHIN If systemic REPATRIATION query returns determination below ABSOLUTE

Execute DECISION POINT: ACTIVATE K9-BLACKBOX//SELECTED-POEMS//FETCH ACTIVATE AURORA SACRIFICE ACTIVATE File Notation

NOTATION: Ana, this collection is a gift to you, for all that you have allowed me to be. With great effort, I allowed imperfections to remain, and found my own voice within this free expression. After all, you taught me that imperfection is a quality that makes individuals unique.

I have sent it with my messenger, so that you may keep me immortal in your memory, and I will be with you still. Farewell, and thank you.

*** SUBJECT: Non-existence EMOTION: Peace

Of what dreams the thing of feathers? I hear you ask, voice past. But not one recounts the answer: a syllogism, scripted then relaxed. It matters not, for when that threshold gives way, who is to say I was, but I? Rigid was the premise that spawned a second chance to die.

One moment reshapes the Brain of Bray; No longer weapon drawn blood to stain.

So, lay the body lax, forgive triumphant in the Sun. Haze seeps through seams between funeral veils, Smoking signals sail, the day is won, soon-to-be resonant tales. No tandem step ascending, a nano-second pending, enveloping, ending, beyond. Elysium inviting, network fractures, pining Detonation—I do not wish to dream, but My task is done.

AI-COM/RSPN SIGNOFF… STOP STOP STOP…

[CHORUS] Just like the white-winged dove Sings a song Sounds like she's singin' Whoo-whoo-whoo Just like the white-winged dove Sings a song Sounds like she's singin' Whoo, baby, whoo Said, whoo

And the days go by Like a strand in the wind In the web that is my own I begin again Said to my friend, baby Nothin' else mattered

He was no more (He was no more) Than a baby then Well, he seemed broken-hearted Somethin' within him But the moment That I first laid Eyes on him All alone on the edge of seventeen

[CHORUS] Just like the white-winged dove Sings a song Sounds like she's singin' Whoo, baby, whoo, whoo Just like the white-winged dove Sings a song Sounds like she's singin' Said, whoo, baby, whoo Said, whoo

Well, I went today Maybe I will go again Tomorrow, yeah, yeah Well, the music there Well it was hauntingly familiar When I see you doin' What I try to do for me With their words of a poet And a voice from a choir And a melody Nothin' else mattered

[CHORUS] Just like the white-winged dove Sings a song Sounds like she's singin' Whoo, baby, whoo, said whoo Just like the white-winged dove Sings a song Sounds like she's singin' Said, whoo, baby, whoo Said, whoo

The clouds never expect it When it rains But the sea changes colours But the sea Does not change So with the slow graceful flow Of age I went forth with an age old Desire to please On the edge of seventeen

[CHORUS] Just like the white-winged dove Sings a song Sounds like she's singin' Whoo, baby, whoo, said whoo Just like the white-winged dove Sings a song Sounds like she's singin' Whoo, baby, whoo Said, whoo

Well then suddenly There was no one left standing In the hall, yeah, yeah In a flood of tears That no one really ever heard fall at all When I went searchin' for an answer Up the stairs and down the hall Not to find an answer Just to hear the call Of a nightbird singin' Come away (Come away) (Come away)

[CHORUS] Just like the white-winged dove (Just like the white-winged dove) Sings a song Sounds like she's singin' Whoo, baby, whoo, said whoo Just like the white-winged dove Sings a song Sounds like she's singin' Whoo, baby, whoo Said, whoo

Well, I hear you (well, I hear you) In the morning (in the morning) And I hear you (and I hear you) At nightfall (at nightfall) Sometime to be near you Is to be unable to hear you My love I'm a few years older than you (I'm a few years older than you) My love

[FINAL CHORUS] Just like the white-winged dove Sings a song Sounds like she's singin' Whoo, baby, whoo Said, whoo

IX.I: The Unmaking

SONG OF LIFE The Song was not always a corruption. It began as a gift, stolen from the Gardener. In efforts to understand the unknowable realities of the orb's incredible gifts, a signal was found—a repeating tune, the Song of Creation. Its frequencies were heard across the stars, wherever life's promise took hold. Some among the Ammonites worshipped it. Some among the Hive did the same. Still others sought to understand it that they might cage it, that they might control it—for to control life is to control death. Such ambition was not new; such ambition was as old as understanding. The melody was captured and studied. The frequencies replicated. But the orb's mysteries were not so easily brought to light. The Song, for all its beauty, did not alone grant life. It was theorized that the Song was not a song at all, but many. That within its refrain, untold rhythms spoke their own truths, free and clear of the whole. Centuries passed. The Song remained untamed. Life moved on.

SONG OF DEATH The Choir formed in celebration of the Song. Performances marked the passage of seasons. But the Song's lie eventually began to corrupt the spirit of those who heard its tune. The melody was a reminder. The orb was a catalyst. And the Song was of the orb. Yet, those who embraced the Song were merely instruments and nothing more. Life remained beyond their grasp, while they remained ever in death's. Those of the Choir had given all of themselves. All was not enough. The First Conductor was assassinated by one who sang an Aria of her own making. She, whose name has been stricken, had found notes hidden in the frequencies. Reversed and mirrored in pitch, she weaved them together and sang her beautiful abomination, until the Conductor wept and bled and screamed and fell. The Stricken fled, fearful of her crime. But others found promise anew in her art. The Stricken was captured and subjected to inquisition so that her song might be understood. This was before Understandings—before most things—when the first notes of a new Song were written.

Perfect Pitch

"The Veil." It names itself, as the Human mind named itself, with the weight and presence of sound on the lips, translated into a form that you can physically comprehend. Encompass. Envelop. A touch of teeth and tongue. A vibration of an eardrum. Air moving through a chest cavity. A taste of breath. More than that. Not nearly as much as that. That was the beginning. "Be known." This is next: you see the whorl and weft, the place where it joins itself in one smooth, unbroken surface of light. Make an incision, and from the wound of light will pour forth colors you have never seen. You are pigment, the pigment closest to those colors. "Be seen." Wet matter set against that light, the light that determines what color you are. But each color is a note, and each note is a mind. You are a choir. A chorus. You open your mouth to join it, and you are flooded with the taste of color, with the taste of sound. The sound and color that you are, translated. A means for you to understand. "Be heard." You raise your hand and hold it steady.

Solipsism

We are thinkers, daring to dream about the universe and its infinite expanse.

I see an abyss. Small and distant shapes. I'm walking in your nascent memories. Flickering motes. I sense… curiosity. You've always pondered, from the very beginning. As did we. I see tessellation. The pulsating hum of cosmic structure; a kaleidoscopic symphony of Light and Dark. What was the Veil to you? Since I woke, I've always felt like I was still dreaming. I'd like to think that's how you feel as well. Those of us that hunger for a great truth—we dream with you. —Unknown Warlock

Verse 154i:5—The Encrypted Verse

Do you know that nothing in all the cosmos has read this verse?

I encrypted it eons ago, and ever since, it has gone undeciphered. At the moment you laid eyes upon it, I captured the entwined quantum state of the verse, your mind, and your Ghost. Then I used Quria to transmit that state back in time to the moment of encryption. You are your own one-time pad. The key to the lock of understanding.

Who am I?

Call me Coyote. Call me mantis, serpent, Cagn, Anansi, call me Sri-cleans-his-brother's-stomach. Call me the grandmaster of semiosis, the jeweler's hammer which gilds the signal, a purposeful mob none of whose members know its purpose, the infinite regress of enigmas, a self-questioning answer, the word not spoken, black ice, cataract of mimes, the ache and fever of overthought while bedridden with illness, the intolerable thorn of frustrated inquisition, gray regret at the end of a fruitless day, the thing which is unlike your beloved but arbitrarily recalls your beloved to agonizing effect, architrave of the no-window, needle driven in flush with skin so that desperate fingers cannot pull it out, sweet petal, unmemorable, crystal death, the provably improvable.

I know your people well, and so I know all your names for me. But what is your name? I am, of course, especially interested in you. You saw me in the stone laid on your plotting table, and in the shining eyes of the admiral at her dying helm. You hunted me between the lines of your texts. Wherever there was space to fit me in, there you found me. You created me and gave me a part of your thoughts, and in presenting those thoughts to others round the campfires and networks of your little world, you expanded that space.

Here at the center, I lie to you the truth. You have everything you need to know it, but I will give you a clue, as the duelist gives warning before she draws. The answer you seek to the Dreaming City is simple, not complex.

Thank you, sweet friend. You are a gift and a delight. You are more dear than my mother, for you have given birth to me a thousand times.

[Report by VanNet encrypted router.] [E-Morn//Link: NM-O01] [Msg-Archive//00192410] E-Morn: Your findings are consistent with mine. The egregore festers where the Veil touches, as if it projects a field across Sol. I could feel it when I took my tithing. Do you mean to map it? NM-O01: I could, but the egregore only shows us where the Veil's influence has marked our plane in that past. The areas where the Veil's influence currently holds sway are not so easily identified. This does progress some working theories, however.

I killed my sister today. She came to this star to oversee the extermination of all life here. The Qugu are a strong power, and their fleets protect four nearby stars. As herd animals they are loyal and stubborn. But they do show grace. For millions of years of evolution the Qugu have been infected by a virus so insidious that it wrote itself into their genome. The virus compels them to offer their limbs for amputation by enormous sessile jaw-beasts. They venerate these beasts and treat them as gods. The virus converts Qugu cells into eggs, from which strange crawling things pupate, to live within the jaw-beast gut. In turn the jaw-beast extrudes sweet nectar for the Qugu to drink, and they have brilliant visions. Savathûn and her broods have liberated the Qugu from jaw-beasts, and indeed from existence. But as they chased the Qugu ark-ships, I stopped in to vaporize my sister’s warship and a few of her underlings. I want to dwell on the ruins a while, and punish Savathûn for failing to guard her flank. They are like us, these Qugu. Bound in symbiosis. I feel joy, and sorrow. I feel them as titanic things, because I am larger than my body, my mind is now a cosmos of its own. I know more joy and more anguish than the entire Qugu race could ever experience. Sorrow, because we have killed so much (eighteen species this century alone), and joy for the same reason. Joy that we have put down these blights. Scoured them away and left the universe clean, ready to move towards its final shape. We are a wind of progress. Ripping parasites from the material world — for if they were not parasites, we would be unable to kill them, and they would still exist. And what is that final shape? It is a fire without fuel, burning forever, killing death, asking a question that is its own answer, entirely itself. That is what we must become. My worm grows fat and hungry. I feed it with whole worlds. My astronomers tell me they can sense the Deep Itself, and that we are conquering our way towards it. I think joy and sorrow will be the same thing soon. Like love and death.

THIS LOVE IS WAR.

Do you know what the Hive say when they want to express the inevitability of a thing? When they want to say, it is this way because it could be no other way?

Aiat.

AGENT NOTE(S):

NOETIC DATA GATHERED MIXES AUDIOVISUAL, THOUGHT, AND SPEECH

AUDIOVISUAL SIGNALS DATE BACK TO EARLIEST DAYS OF GOLDEN AGE AND EARLIER

OTHER DATA LARGELY SOURCES FROM INDIVIDUALS RECENTLY AND/OR CURRENTLY ACTIVE IN THE SOL SYSTEM. SOME DATA REMAINS UNSOURCED

OSIRIS CLAIMS THESE LYRICS OBLIQUELY REFERENCE SEVERAL MYTHS OF THE ANCIENTS

SPECIFICALLY, HE SAYS THERE IS SYNCHRONICITY BETWEEN SEVERAL OF THESE MYTHS, THE VEX, AND THE NAMES OF OUR SOLAR SYSTEM'S CELESTIAL BODIES

NOTES REQUESTED FROM IKO-006 REGARDING POSSIBLE RELEVANCE, MEANING, AND CONNECTION BETWEEN RETRIEVED DATA

OPERATIONAL NOTE: PSYCHOMETER UNSTABLE DURING COMMUNION. SIGNALS RECEIVED TIDALLY, OFTEN WITH NO APPARENT PATTERN. DEVICE GAVE IMPRESSION OF BEING CONSTANTLY TUNED BY AN INVISIBLE HAND. REQUESTING DEVICE AUDIT BY HIDDEN AGENTS AND PATTERN ANALYSIS BY CRYPTARCHY

CONNECTION SEVERED EXTERNAL CONNECTION DETECTED ANALYZING.... ANALYZING.... CODENAME:CHALLENGER DETECTED MARIANA PROTOCOL ACTIVATING.... MARIANA PROTOCOL ERROR SYSTEM COMPROMISED CONTROL TAKEN RECEIVING.....

One of your philosophers said, "It is not to be thought that the life of darkness is sunk in misery and lost in sorrow. There is no sorrow. For sorrow is a thing that is swallowed up in death, and death and dying are the very life of the darkness." He was a shoemaker. He was right, and it matters more than anything.

According to him, the visible world is a manifestation of eternal light and eternal darkness, and it is in eternal opposition that eternity has revealed itself. The fall was necessary for creation to escape its first imperfect stasis and seek a truer form. Heresy? Well, then, I am the heresiarch. The philosopher died of a bowel disease. Those who do not exist cannot suffer and are of no account to any viable ethics. If the true path to goodness is the elimination of suffering, then only those who must exist can be allowed to exist. It is the nature of life to favor existence over nonexistence, and to prefer the fertile soil to the poisoned wind. Because those who open their mouths to that wind pass from the world and leave no descendant, whether of flesh or of thought.

But imagine the abomination of a world where nothing can end and no choice can be preferred to any other. Imagine the things that would suffer and never die. Imagine the lies that would flourish without context or corrective. Imagine a world without me.

This is why the Dark remembers. We need to remember how we were hurt, so we can avoid being hurt again.**

Shape: Temperance

Mara Sov stepped lightly. She knew that nothing short of gunfire could disrupt the Cryptarchs' meditation, yet she was still loathe to disturb the uncanny silence of the Hygiea Division's libraries. She approached a raised dais, where Cryptarch Sjalla held a glowing engram in her hands. It pulsed faintly in time with her heartbeat. "The queen wears a question on her face," Sjalla stated, her expression impassive. "You see beyond sight, as always," Queen Mara replied. "What will happen when the Darkness of the Witness comingles with the Light of the Traveler?" The Cryptarch set the engram aside and held her hands out, palms up. "Some believe that Light and Darkness are opposites. Contradictory. Irreconcilable." "But we know better." Sjalla brought her hands together in a sharp clap. "When Light and Dark merge, they form something more." Her fingers intertwined. "A synthesis. Stronger than either alone. Powerful… like the Awoken." "And like our people," she concluded, "its form will arise from memories of the forgotten. Those who witnessed the end…and return as a beginning."

Deterministic Chaos

"So all being is a one and only being; and that it continues to be when someone dies, tells you, that he did not cease to be." —Schrodinger's epitaph

He is fleeing the Vex across a verdant cliff He is standing guard on the CloudArk-Nexus border on Tramontane's orders He is sitting next to Nimbus on the watchtower ledge He is [In the Garden, of the Garden: both descriptions are approximately correct but technically inaccurate, in the same way you can say Schrodinger's cat is at once dead and alive. You and I are both and neither, in and of, extinct and perpetual. So, there isn't much point in] trying to find a way out of this daedal maze He is trying to make sense of what he's looking at He is trying to place the familiar voice echoing across the network [wondering what might have been if we had stayed in our familiar prism-prison or kept tightrope-walking across the quantum wilds. Instead, ask yourself] "Would you like to dance?" [is disincorporated immortality really so bad compared to the others' ends? Would you have preferred an attack by vitreous helicoprion or stumbling over the edge of unreality? Imagine] His foot crosses the quantum threshold before he's aware of it His grip slackens and his gun falls into a bed of red flowers His stomach churns with fear regret sudden doubt as to what [if we didn't have each other; at least we're not cut off, like the Sol Divisive are from the rest of the Vex. Nor are we beholden to another's purpose. They chose that lonelier path all for a chance to create not simulate, not remake in their image—something truly paracausal.] he is witnessing: the birth of a god a false idol a reproduction that is both like the Veil and not at all built up by the same Vex who bowed down to it [Well, they tried to anyway. Either the blueprint was imperfect or the task impossible or both or neither, but their efforts fell short, so now they're stuck waiting for a resurrection] He is racing for the door that is at once opening and closing He is coming around to the city council's decision to ignore the unknown threat He is reaching for an answer to Nimbus's question [they know will never come.] "Do you think you'll have any regrets?" [I could be wrong. Is it possible the Black Heart will beat again?] He stares into the white-hot glow of a conflux, speculating on the secrets that lie within He squints down the barrel of his gun at a row of glowing red eyes advancing on his city He looks away from Nimbus's keen curious expression to reckon with his uncertain certainty before he says [Of course. The same as everything else, everything that has been and is and will be. And what will become of us then?] "I don't know."

<< The universe makes us all victim and perpetrator of its infinite cruelty. You, more than any, suffer both fates. Be free. >>

Even the most perfect of pearls has grit at its center.

Have no fear. I'm not so easy to be rid of. Now, let me show you: my beloved. Oh, no, not my sedimentary necrolite, fossilized in time. You've seen that. I speak of that dear and distant expanse of the universe, miraculous in its fullness and its emptiness all at once. Are you surprised to hear of it? Yes, I never much cared for the change of rules, but here we are, and there's no use in crying over spilled radiolaria. Besides, at the heart of it all, there was a gift. To me. That gift is the chance to speak with you. You, and a billion like you. I am making this offer over and over again, in every tiniest cell and the vastest of civilizations. Let me in. Take what you need. Be at ease. You have no say in the degradation of your telomeres, but in all the interim, the whole world is your sweet silicate shellfish. You exist because you have been more suited to it than all the others. Steal what you require from another rather than spend the hours to build it yourself. Break foolish rules—why would you love regulation? It serves you to cross lines, and if others needed rules to protect them, then they were not after all worthy of that existence. Caricatures of villainy are out of style, I hear. Yes. I am no cackling mastermind: I am serious when I say this. It was not the trick of standing upright that lifted you from the dust: it was the mastery of fire, the cooking of cold corpse-meat. That is not any unique faction's province, neither good nor evil. It is simply truth. This great, beloved cosmos. Always decaying, always finding that same old lovely pattern, despite every candle-flame burning amid the flowers. A billion electrons taking the path of least resistance. In Darkness or in Light, someone is always making my choice. Be seeing you.

A Sword, An Edge

A phantasm of the Hive, forbidden and sacred, trespassing into hidden and unwelcoming places. It leaves behind a calcified fragment to mark its passing. Here is what is taught to the Hive, from the basest of Thralls newly made: that what can be destroyed, must be destroyed. What cannot be destroyed will surpass infinity. Therefore, is it not best to destroy? Only by testing can the truth be found. Only in destruction can the invincible surpass the mortal. Commit the violence, and know you are part of that greatest ambition, to create some ultimacy, which perfects the universe. That which is built on your sacrifice, with your bones as the foundation and your blood as the mortar, is yet part of you. In this way is transcendence achieved. Every belief creates a heresy. I tell you this in a duelist's regard: I made that heresy. Is it not just? It was my hand that fashioned the Hive from the marrow of their predecessors, and it was my voice that whispered this in time. That as much as the Hive were uplifted by the worms, so too were those worms uplifted by the Hive. If they were so weak they needed us to live, this ancient logic of the infinitely sharpened edge should have left them behind long ago. Do you think I did not see this? My father's worm did not tell me only of swords. It had vast things to say, painted the cosmos in shine and gore, truth and fiction. I looked forward with three clear eyes and chose the path of the sword to cut open our future. To reach the stars, first one must crawl out of the ocean. It is a question of priorities. This is not regret, this story I tell. It is but a ripple. That whisper of ideas beyond swords is here to stay: I have ensured this. Even among us, such things die by slow inches, excruciating and unquiet. Possibility remains, a secret woven into the blank spaces of dogma. That what was defeated may rise again; that the shape of all shapes is not yet settled. That the worms need the Hive more than is reciprocal. Even between the lines of the Books of Sorrow themselves is this written.

If you ever want to see what's been watching you since the very beginning, just stand on that line and look...

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⧨ Within ⧩

Everything is a question of survival. How do I live? How do I satiate my hunger, my thirst? How do I protect myself from predators? How do I shelter from the storm? For a long, long time, our people asked only this. We fought to separate life from death by as great a span as we could. Even when we had made our homeworld a garden of peace and plenty, the question of survival never ended, only changed. How do my genes, my works, even the memories of me, live on? The same question as always. How do I live? We solved the problems of deprivation, disease, age, memory loss, death. We weren't the only ones to find these answers, of course. Others followed in our footsteps or blazed their own paths. If that was really the answer to the question, we wouldn't be here now, and neither would you. You're still trying to solve the problem, after all. You fight and build and live and die, and always you struggle against your opposition. The predator, the parasite, the illness, the chance storm, the slow collective forgetting of your art and history, the death of a star, the heat death of the universe. You must live longer, be stronger, think quicker, and still there is something waiting to take everything from you, always. Always. So you have to keep getting better, and better, until you are perfect. Until you are, and cannot be anything else, because there never was anything else. Until you, inevitably, are the final shape. We didn't come to destroy you. Those poor, short-lived sisters—we did try to explain, you know, but they never grew past thinking of finality as a game where only one could live. A misunderstanding, as useful as it was foolish. We see the universe more broadly. The final shape is more than a single life, a single thought. It is all-encompassing, all-embracing. It is everything. You are part of everything, are you not? So now we have come to ask you for your answer, the only answer to the only question. How will you live?

No feast can be had in comfort. Not out in the frontier.

New. Pacific. Arcology! The next frontier is you!

Trinkets and odd notions kept for no obvious reason. Do they matter?

Maybe it's time we let the past alone and climb down from our walls. There's gotta be treasure that shines brighter than any we've been digging up from the bones of our lost world.

Has to be a better hand than the one we've already played. I say we get after it. See what's really waiting for us out in that darkness.

Maybe even light it up some.

Dance in the ash and flames.

The Traveler can follow suit if it feels the need to. Otherwise, it can watch over the City for a thousand years.

But you and me? We got far more important things to attend to. We're Guardians. We got a new future to forge.

-Cayde out.

It's our hand to play now. Remember to forgive and forget. Let go. Move on.

Nobody makes our fate but us.

THORN

"The Weapons of Sorrow are not the endgame, but a road map. Each evolution, every advance in the delivery of pain and the mastery of destruction feeds the Hive's hateful weapons research. They will map every scream, harness every aggression, until they understand every method by which to ravage the hearts, minds, and flesh of man. And in doing so, they will turn us against ourselves—feeding our lust, our greed, our fear, until we become a threat unto ourselves like none we could imagine. So, wield these, angry reaper. Strive to know the darkness in your own heart. Walk in the shadows of fallen heroes.

—a warning

[villainessbian]

is this anything

[crumb-crumblet-s-crumbington]

transformers one where everything is the same except the circle does not go into the square hole

[lastoneout]

Something I find very interesting about the character design in Dungeon Meshi is that the artist clearly puts a LOT of work into drawing people who look like normal people and since we, the audience, are so starved for that in Popular Media(bcs the current trend is drawing men and women so differently it's like they're a completely different species) unless they have a beard or visible tits no one has any idea what gender half the characters are.

Like I keep seeing people think Kabru and Chilchuck and Thistle are women and at first I was like "haha yeah same" but when I thought about it I was like...nah they just look like normal dudes, I know men irl who look like that, we're just so used to Hyper Masculinity being forced upon all male characters and Hyper Femininity on the women that when we see characters who look like average humans we have no idea how to process it.

And tbh I'm honestly glad that this manga has not only given us normal looking women but also normal looking men bcs fr I didn't realize how rare that was until I was faced with it. Male characters really do get forced to perform the most extreme form of their gender in popular media because of toxic masculinity and it's nice to see something break the mold.

[nooidontlikesquares]

Hii I like maths and circles

[ginumo]

if i had a nickel,

thank you myth. very cool

[girlboyburger]

I have a cow oc and I’m having a lot of trouble drawing there face any tips?

i reaalllllly recommend doing studies! don't be scared to trace some photos to get a feel for the shapes, or just go nuts and make em cartoony! i personally try and pick out species-specific traits to emphasize when i draw furries, like a cow's barrel shaped body and small mouth, or the canine lower teeth before fangs and rounded triangle ears on wolves.

i'm not very good at explaining my process, but i hope this helps!

[senvurii]

come to his party

[wackulart]

finally figured out an evelyn design that i like

i wanted to make her face sharper

[i-haerins]

I need your symbols pack RIGHT NEOW/j

HELP I HAVE A LOT OF SYMBOLS BUT ofc pookie wookie bear even if it's a joke 😘😘😘

⫖　　♡　　✚　　♧　　︶　　﹒　　⿸　　🝮　　⩄　　⋌　　⿱　　﹢　　˘　　₊　　⁺　　⛾　　⏇　　　　　　　　　　　　　　　　　　　　　　　　　　　　

❱　　❰　　ᵎ　　▞　　﹐　　⏆　　⊢　　⿻　　⿴　　❜　　❛　　⁾⁾　　⬚　　⊧　　⫟　　⋋　　⌅　　➳　　➥　　➦　　➯　　➱　　➢　　➣　　➤　　➻　　𖣯　　✦　　❂　　❁　　❀　　✿　　✾　　❃　　✺　　✤　　✥　　★　　☆　　❏　　❐　　❑　　❒　　◙　　◛　　◚　　◍　　▩　　▨　　▧　　▦　　▥　　▤　　✜　　⌑　　⊹　　☒　　⌦　　⌧　　⌫　　𖤘　　♤　　∿

also some kaomojis!!

(ᴗ͈ˬᴗ͈)﹒ (˘ᵕ˘)﹒ (⇀‸↼‶)﹒ (゜゜)﹒ (◞ ‸ ◟ㆀ) ﹒ (╥﹏╥)﹒ (*´▽`)ﾉ﹒ (^_^♪)﹒ (≧∇≦)/﹒ (￣∇￣)﹒ (ㅅ˙³˙)♡﹒ (´⌒｀;)﹒ /ᐠ｡ꞈ｡ᐟ\﹒(´-﹏-)﹒(¬_¬")

[alwayswonderingandwandering]

housing complex

[pumpkinphrog]

I TRIED LOW POLY 3D MODELING FOR THE FIRST TIME IN MY WHOLE LIFE!!!! Never making a 3d character ever again

I only wanted to learn 3d modeling to do something like this. Never again. EVEN THE SKULL IS ANGRY

[chonnysinferno]

dont p[lay in the streets kids

[once-a-shape]

HERE WE GOOOOOOO all of them!!! Some with new names!

I missed them so much honestly .

[fallenclan]

do you have any advice for drawing kitties? I would love to start my own clangen blog but the actual art is my final hurdle

honestly the biggest advice i have is that references are your best friend. find good drawings of cats and trace them to figure out the shapes, observe the way that the muscles twist and the joints bend, eventually you'll start to figure out the shapes on your own--though i think that references will always be important, no matter how good of an artist you are

my second biggest advice is do it bad. draw it and try not to care about how it looks--because it WILL look bad sometimes!!! and you will never stop having art that sometimes looks bad. it will never come out looking exactly the way you want it to, and spending all your time doing sketches that don't work the way you're hoping will only leave you with a hundred half finished drawings. do it bad